One has to give PlatinumGames credit for creating a prequel/spinoff by removing major chunks of the source material in such an aggressive way. Theresa and the Lost Demon is such a departure from the original Bayoneta trilogy, it’s something we should actually celebrate, because that’s the kind of adventure we should demand from these spinoffs: giving fans a sense of The IP has a fresh perspective while staying true to some of its core elements.
Even though, as I had to admit a few weeks ago, the story started so slowly it almost put me to sleep, but now I happily accept that I really enjoyed most of the adventure because I ended up participating in its systems and gameplay Progress, as I’ve worked on it’s watercolor art style.
Because, let’s be honest, from the outside, Bayonetta Origins: Cereza and the Lost Demon might look like a cheaper, simpler approach to the triple-A hack-and-slash franchise. First, you have its weird, almost gimmicky dual-stick controls, with the left stick and shoulder buttons mapped to Cereza, the right equivalent to the demonic Cheshire (acquaintance to anyone who’s played Bayonetta 3 recently), and The Witch’s Apprentice in 10 Summoned for the first time at the age of 10, because she learned the way of the umbra under the strict supervision of Morgana in the Forest of Avalon.
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With the main series’ complex combat excesses and heavy reliance on blockbuster cutscenes apparently gone, the switch to a calmer, exploration-based Metroid experience has to be flawlessly convincing in the long run, and in the original 4- It does take time to get there in 5 hours, as is the wonderful narrative of this story. But, thankfully, once you feel fully in control of the different mechanics, the game loops become not only enjoyable but also quite unique compared to other endeavors in the genre as more abilities and new challenges are introduced. .
In other words, to be clear, a lot of people could have written it as a generic stand-alone Metroid, nothing special in the PlatinumGames property, but as I kept turning the pages, even more so after closing the book, I feel like this could sit comfortably next to the likes of Ori and the Blind Forest, because it’s cute and sometimes memorable, even if it can’t stand out in its new genre.
As you might have guessed with reference to Avalon and Morgana, Sereza’s story adds some twists to the Arthurian mythology, much like the main series’ never-ending battle between angels and demons, gods, creators, etc. That’s what fighting does. I won’t spoil a single thing about the events here, but I will say it’s actually an origin story to establish the witch character we all know and love, even with the trilogy’s intertwined plot lines and time bending It naturally opted for a more direct narrative than the original script. Having said that, it does have some nice twists and I love the differences and proud clashes between Ceresa and Cheshire. Speaking of twists and turns, the interpretation of fairies I found here is one of the most charming and twisted I’ve ever seen.
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The Forest of Avalon itself has a disorienting feel to it, as the deeper you explore, the more lost and haunted you feel. This is both a good and a bad thing, as the map itself seems purposely drawn in a dull, slightly chaotic manner (even more so if we’re talking about its otherwise nice verticality), allowing you to explore every aspect of the natural, organic environment yourself. A corner to find secrets, treasures and upgrades. Here, Cereza’s spell and Cheshire’s power forge new paths, sometimes used in tandem in the platformer section, and while there are some minor misdetections (eventually occurring in combat), it mostly works.
In my experience, the exploration is good enough when you’re on the main road and taking the most obvious detours along the way, but it can feel a little unfair when you’re trying to get further through the game before and after the credits roll Not even boring, as it forces you into some old-fashioned hiking instead of making it easier or faster with shortcuts, despite allowing for some quick travel mid-game.
However, the level design itself is pretty good for the most part, as are the bunch of puzzles, to the point that I would have liked more Tír na nÓgs (spell zones you have to complete to clear the map) that focus on puzzles rather than combat , because some of them left me with the best Zelda-like aftertaste, but with this game’s unique dual-stick approach.
Most of it is combat based, though, but even if it starts off as slow as the rest of the game’s mechanics, the combat system finds its own way to be varied and interesting in the long run, both in Tír na Inside nÓgs or in many random encounters in the forest. If you want quick reflexes, moving your protagonist around the stage quickly to defeat giant creatures, you’d better go back to the original trilogy, because here you will gradually learn to keep one eye on the child and the other Stare at the demon. The former casts spells on enemies (mostly binding them) and uses potions, the latter deals damage by using his bite and slide, or by choosing the right elemental attack or ability.
As the game progresses, both Cereza and Cheshire will grow stronger as a beautiful skill tree grows more branches, and their bond will make this duo a truly powerful duo. As much as we love Cereza herself and the 10-year-old version we presented, Cheshire completely stole the show both in terms of narrative and gameplay. Like a grumpy cat, he is an unstable stuffed animal, you just have to love the way he moves, his amazing elemental powers and different transformations, you will have a hard time going from his forest, stone, Choose your favorite Cheshire in the form of water and fire.
All told, I finished the game at over 80 percent, after about 20 hours of gameplay, some of which were devoted to some fruitless finishes before the final showdown. These, by the way, are really good and inventive in a way, and provide Bayonetta fans with a ton of fan service at the end, not just in what the game tells, but in how it’s played. Also, it has to be said that for fans of the series or the action genre, this isn’t a difficult game at all until the last few pages, and it also introduces a welcome bunch of accessibility options to make The Apprentice easier. While I still insist it’s not the best game for completionists and I’d like to ditch it when I’m done, it’s a Metroid after all, and I’m close to 100% right now because I just can’t help it.
What it boils down to is what at first appeared to me as a slow, generic indie Metroid finally worked its magic on me by marrying a creepy fairy tale with some fresh ideas under gorgeous visuals. These unique concepts make this a very personal origin story for the Lost Elves team, despite different sources of inspiration (I haven’t even mentioned their own Okami yet). It’s a story worth playing on its own merits.