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Bayonetta lives up to its tagline of "Nonstop Climax Action" by serving up awesome boss fights in nearly every chapter.


  • Jeanne, being your rival throughout the game, shows up a few times, and each fight improves on the previous one with more drama and more difficulty. The music isn't bad either.
    • Your first fight has the two of you trading injuries on the walls and ceiling of a hallowed arena. Jeanne will nail you with combos that are almost impossible to break out of, while she has no problems breaking out of yours. She'll also dodge most Wicked Weaves you throw at her, and slaps away any bullets you fire at her if you try to use the cheap way of dealing damage. Any weapons you have? Can't use those, since you're fighting her in a flashback from before you picked up any of that, meaning you're stuck with a set of fancy pistols. Music here is "Battle for the Umbra Throne."
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    • Your second fight takes place in the middle of a tornado hitting a valley of ruins, and you'll jump from place to place as the area gets torn apart by the wind. The difficulty gets ramped up, and the music changes to "Red and Black", a jazzy piano number.
    • The third fight is atop a falling plane. Jeanne gets to use a sword this time around, will start summoning up demons against you, and after you shear off a good chunk of her health, she'll summon her motorcycle and try to run you down with it. Sure, it makes her easy to anticipate and dodge, but the fact that that part happens as you fall through a freaking THUNDERSTORM makes it awesome. For the final stage, you'll get to "duel" her by throwing punch after punch at her in a Torture Attack-ish minigame.
    • Final fight? You're mirroring the second one by jumping from building to building to live missile to building, but Jeanne has ridiculous amounts of health, insane attack frequency, and likes to play Tennis Boss by hurling missiles at you! That punching minigame from the third one will also make an appearance. Or two. Or five. As for the music? It's "Blood and Darkness", a Dark Reprise of that jazzy tune from the second and third fights, complete with Ominous Latin Chanting.
  • Fortitudo. A massive jeweled, armored two-headed dragon with an upside-down head for a body who has appeared a few times over the last few levels.
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    • You start the fight proper in a ruined colosseum in which Fortitudo scorches the earth to lava during the fight. Over the course of this battle, you reverse time to return everything to the way it was, smack him around with Wicked Weaves (or Sword Lines if you're using Shuraba) galore, knock him to the ground and suplex his ass, and then, when he torches the place, you go into Witch Time, traverse the pieces of falling architecture, grab hold of one of his dragon heads and do an aerial suplex that sends him right to the ground before suplexing him again and again until his heads get ripped off, and are individually dragged down to hell by hundreds of grasping hands. When both of his heads are ripped off, he destroys the entire colosseum, and the battle continues on a ruined piece of building as you dodge his tail, his claws and his angelic fire breath while tearing up bits of his upside-down face before summoning Malphas, a massive crow demon (who manifests through your hair), to peck his remaining eyes out and then sending bits of broken colosseum through his face. And he still has time to banter with you before his remains follow his heads to Inferno. Awesome.
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    • He makes two appearances beforehand; the first is a disappointingly-easy flashback fight in Chapter I which can be won simply by dodging his fireballs and holding down the Fire button. The second is as the final boss of Chapter II, where you fight one of his heads poking through a chapel. Once you damage him enough, he'll rip it out of the ground and take to the air so his other head can take shots at you. As for his damage output? At this point in the game, three or four physical hits and you're dead. Makes for a very tense fight.
  • Temperantia's fight takes place in the middle of a tornado, and highlights include jumping from rubble to rubble to grab trucks to throw at him, summoning Hekatoncheir twice to yank his arms off, battling his face when he doesn't have anything left to kill you with, and summoning Hekatoncheir once more to beat his face to a bloody pulp. Not to mention the rather creative way Bayonetta decides to get in a last shot before he's dragged off to Inferno...
  • Iustitia is a massive, hellish blob of faces with plantlike tentacles and stalks sticking out of its mouths with more faces on them. Yeah. It likes to rain poison down on you, cover you in goo, and smash you into the pavement if you're not careful, and its music, "In Giving Every Man His Due", perfectly captures the desperate nature of the fight. To take him down, you go to town on the stalk-faces individually before running down them to slice them off with your bare hands. Finally, Bayonetta will summon Scolopendra, a giant centipede that constricts the crap out of it, leaving it a massive, bloody mess.
  • Finally, there's the battle with the Cardinal Virtue of Prudence, Sapientia. First, you start off with an awesome pre-battle cutscene where Luka gets to make a nice entrance. Then Sapientia destroys the downed plane Bayonetta's standing on, and just when you think "how will I fight him without anything to stand on?" Bayonetta lands in the water, surfing, and striking an asskicking pose right as the music begins; this one's "In The Choice Between Good and Evil". The awesomeness isn't over yet, though, as once you soften him up enough, you summon up yet another demon with your Prehensile Hair (Phantasmaraneae, a spider demon), mount Sapientia, and steer him into the damn thing! Following that, he dives down and creates a wicked maelstrom, which you jump down - still surfing - and finish him off with another summon of the same monster, except this time, it's about fifty times bigger than the previous one, and it's brought its kiddies along! Truly a fight befitting the final Cardinal Virtue.
  • Balder's fight completely obliterates every boss fight beforehand. In a nice bit of Book-Ends to go with the very first chapter, he's fought amidst the falling rubble of the Ithavoll Building - even his music, "You May Call Me Father", has a few bars of "One of a Kind" in there. Additionally, he's absorbed Cereza at this point, so at the very least, he's at Bayonetta's level.
    • He's fought in three stages. Each successive stage has him faster and meaner than the previous one, and his weapon of choice, an energy sword, gets more reach every time.
    • He can zip around like Gracious and Glorious, you can't, so good luck landing a full combo on him. Additionally, it's almost impossible to trigger Witch Time when fighting him, unless you use certain accessories.
    • He gets cinematic attacks. He'll yank skyscrapers out of the ground and throw them at you regularly. Not to mention his Kill Sat - after calling on its energy beam twice and failing to hit you, he gives up and rips it out of orbit just to throw it at you himself! Fortunately, you're capable of throwing the buildings back at him in one go, but the satellite will take a few more tries.
    • Those Infernal Demons you call on? He thoroughly kicks their asses before going back to trying to murder you! Summoning Gomorrah will treat you to the sight of him breaking its jaw, snapping its neck, and dusting off his hands as his health bar refills completely. Scolopendra, on the other hand, just gets blown up... but Balder rubs it in by combing his hair with a freaking peacock feather before returning to the fight. Hey, he may be trying to kill you, but the man has style.
    • With all this in mind, he's an infuriating, yet epic boss. So what Finishing Move does Bayonetta have in store for him? Putting a tube of lipstick — the same one that he gave her mother — right between his eyes like a bullet. "Don't fuck with a witch," indeed.
  • The Final Boss deserves probably the most epic mention in this entry. After you defeat the boss (or rather, soften her up), Bayonetta summons a being BIGGER than Jubileus herself and does one of the most epic Did You Just Punch Out Cthulhu? moments in video game history. All the way FROM PLUTO TO THE SUN! AND YOU GET TO CONTROL THE TRAJECTORY OF WHERE SHE'S HEADED!
    • Well, it's not so much as a choice to control her trajectory than a requirement, as if Jubileus hits a planet on the way there, she'll recover and re-enter the fight (and kill you, implied by the Game Over screen). Don't worry, you continue from the knockout punch.
    • Also worth noting is that You don't just Punch Out Jubileus; you punch her IN THE EFFING SOUL! You punch her SOUL straight out of her body and send it flying into the sun. Words just can't describe how awesome this game is...
    • While it's not obvious at first, if one looks into detail about the ever-increasing number of "tons" it takes to punch out angels you'll notice something. Near the end of the game, Bayonetta is exerting power stronger than a freaking atomic bomb, and even then she's not even at her full power yet! In fact Queen Sheba's power is stated to be Infinity!
  • Just fighting Father Rodin is an achievement in and of itself, but beating him, whose power is that of a GOD, the INFINITE ONE, on that note, is outright astounding. But you could go even further: Using only the Scarborough Fair. No accessories or items equipped except the Gaze of Despair. Now, if you can beat him despite all that, you're probably not actually human. If you can do it without taking damage, you are definitely not human. A sentient force of nature, perhaps, or maybe even a high-level deity, but certainly not a mortal being. He's that bloody hard.
  • At the end of Angel Slayer, you get to fight YOURSELF.
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