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Devil May Cry

‘Devil May Cry’: The 3D Action Innovator

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Shigeru Miyamoto’s Super Mario 64 defined contemporary 3D platforming: that’s a fact. Before the diminutive plumber made the transition to a lesser-flat plane of existence, the video game industry had seen its fair share of 2D platformers. In a market already saturated with Mega Men, Castelvanias and Ninja Gaidens, audiences were hungry for something new, and with the birth of the PlayStation and the Nintendo 64, it was the underutilized 3D worlds that would whet their appetites for the years to come. 1996 gifted Nintendo fans the opportunity to transcend the linearity of the standard two dimensions with Super Mario 64: the player freedom, the intuitive controls, and the colorful worlds acted as an invitation to explore every nook and cranny, whilst integrating varying degrees of verticality unseen in games of old. However this exciting innovation came with its own caveat: all 3D adventure titles would have to dispense with the archaic, stiff controls of old (we’re talking standard Resident Evil controls: select direction, push upwards on the analog stick/D-pad) as a new golden standard had been introduced, and it was here to stay.

But wait, what the devil has all this got to do with Devil May Cry? Before its debut in 2001 on the PlayStation 2, the 3D platformer was an already reputable genre – the secrets of the Mario formula had been extracted and implemented by revered developer, Rare, for their own high-end quality titles such as Banjo Kazooie, Donkey Kong 64 and Conker’s Bad Fur Day, but (most) of these were children’s games, and something for the whole family to enjoy. Where were the adult-oriented titles? Why not just substitute the happy-go-lucky Mario for a sword-wielding warrior with a kick-ass attitude? Enter director Hideki Kamiya and his iconic contribution to 3D action games: Devil May Cry.

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Right off the bat, we see our white-haired protagonist, Dante, fend off the vicious attacks of a mysterious stranger in an action cutscene that would make John Woo blush. After being impaled by a sword, our hero Dante avoids being crushed to death via motorcycle by rapid-firing at the incoming obstacle with his twin pistols Ebony and Ivory. Despite the player not having played anything at this point, the cinematic tone is established, the plot is revealed and the genre is clear – gamers found themselves on the precipice of the unknown: the ultimate evolution of the 3D hack-and-slash game.

The first encounter with the disheveled Marionettes acts as the ideal introduction to the intricacies of the combat system. Capcom knew it wasn’t enough to simply survive against a horde of the undead – they’d already perfected the art with their ubiquitous Resident Evil series – instead, the player is given the tools to wreak havoc on their enemies with an explosive arsenal of supernatural weapons, and yet even this wasn’t enough. If the player was going to lay the smackdown on the devilish entities then they would have to do so in style. Constantly attacking enemies without interruption, mixing devastating combos, and even taunting in suitably cocky fashion would highlight specific buzzwords at the side of the screen ranging from “dull” to “stylish” depending on the aforementioned criteria. The more stylish you are the more orbs (the game’s currency) Dante would accumulate, granting the player the opportunity to purchase improved combos and specific abilities that prove invaluable in the latter half of the game. The inclusion of the easily-disposable marionettes eases players into the world whilst intuitively informing them of the game’s requirements: “annihilate the bad guys, but do it with style.”

There’s a common theme emanating from Devil May Cry and it revolves around the idea of player empowerment. If Shinji Mikami’s Resident Evil series was an exercise in survival horror and its focus on character vulnerability and fear, then Devil May Cry is Hideki Kamiya’s experiment with inversion of the gaming zeitgeist – give the player the abilities to make the enemies fear Dante. It’s a sadistically comical survival horror from the perspective of the unsuspecting marionettes. Basic gameplay mechanics that seem obvious now, but had been overlooked in the past, like firing your weapons whilst on the move were revolutionary concepts in 2001. Likewise, the ability to seamlessly switch between slicing-and-dicing enemies with a sword, and ripping them apart with a barrage of bullets from your long-range weapons exemplifies Capcom’s dedication toward ensuring player dominance. Combat-juggling made its debut in the 3D world, as Dante can continue his combo assault on airborne enemies, and then there’s the classic twin-pistol-juggling as you maintain a demon’s aerial presence by continuously shooting them whilst defying the laws of gravity–why not mix it up and do both? The possibilities are endless.

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The game’s no push-over either. The stress-free opening shouldn’t disguise the fact that Devil May Cry is notoriously difficult as the player progresses deeper into the castle setting. It’s one thing to defeat a slow-moving marionette, and it’s another when going toe-to-claw/leg with a giant magma spider/scorpion/hell-beast. Boss battles in particular challenge the player to encompass everything they’ve learned to overcome the epic challenges – bosses possess a larger health gauge than Dante, their attacks are far more devastating and harder to evade than the average demon, and, ultimately they take up much more space than Dante, thus preventing the maximum maneuverability the player took for granted prior to the encounter. Even enemies like the Blades (lizard men with swords and shields) that predominately replace the marionettes in the latter stages of the game, can prove a handful if the player grows careless. The sense of empowerment is ever-present, but that also doesn’t mean the enemies can’t become increasingly more formidable – Resident Evil excelled in providing the player with a sense of self-gratification after solving multiple puzzles, Devil May Cry’s gratification stems from mental conditioning, familiarity and adapting to enemy attack patterns  – executing the same combo for every enemy simply doesn’t work, one size does not fit all.

It’s hard to imagine the likes of God of War, Ninja Gaiden Black or Bayonetta existing if it hadn’t been for Devil May Cry. Whilst the game might not be perfect – the camera angle would occasionally obscure the action on-screen – it introduced a series of innovative gameplay standards that can, never be ignored. It’s also easy to identify the specific traits subsequent titles highlighted as their design focus: God of War‘s inclination towards showcasing epic boss battles and set-pieces, Ninja Gaiden‘s approach towards delivering a fast, frenetic combat experience, and Bayonetta‘s incorporation of all of the above and its own brand of eccentric style and wit (no surprises there as this was also directed by Hideki Kamiya).

This was originally an article dedicated to the significance of Devil May Cry and its legacy concerning the 3D action-adventure, but really maybe it’s Mario to whom we should be thanking.

Bless you, Mario.

Yoshi

Films, games and music: the big three! If you like any of these, chances are we're going to get on just fine. I'm just a balding, goggle-eyed 26-year old Masters graduate from the UK, and I'm here to talk games! Let's dance.

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Devil May Cry

Heaven or Hell: ‘Devil May Cry’s Victory Lap

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Dante Must Die has always been, and will always be, the ultimate way Devil May Cry challenges its player base. Regardless of the game, the franchise thrives on the idea that, at the end of it all, players will muster up the courage and skill to take on one final game mode designed around forcing mastery. This is a philosophy the original Devil May Cry very much uses to its advantage, utilizing both Normal and Hard as a means of prepping players for Dante Must Die. Naturally, both Devil May Cry 2 and Devil May Cry 3 brought Dante Must Die back as their grand finale, but something had always been missing from the picture: catharsis.

While the first game was clever enough to reward players with an overpowered costume that had infinite Devil Trigger, appropriately titled Super Dante, there wasn’t much to do after completing Dante Must Die. After all, why would there be? Dante Must Die was the game’s final challenge in every respect. A super costume is a nice reward, but it doesn’t exactly relieve any stress that might have been built up during Dante Must Die’s more intense moments. The super costume, at its core, was just a final push to get players to replay the game one final time.

Along with including Dante Must Die as their last game mode, both Devil May Cry 2 and Devil May Cry 3 follow up a completion with super costumes. Three games in and a rhythm set in, it seemed as though Devil May Cry was content with its approach to an endgame. All things considered, it is a genuinely solid approach on paper. Encourage players to master the game through multiple game modes, offer one final challenge, and reward them with an overpowered goodie. A video game has to end eventually and Dante Must Die makes for as fitting an ending as any. Something fundamentally changed with the release of Devil May Cry 3: Special Edition, however.

Rather than simply unlocking a super costume upon clearing Dante Must Die, the third game’s Special Edition offered players an entirely new game mode: Heaven or Hell. Instead of escalating the difficulty even further or making the game a complete cakewalk, Heaven or Hell created an even playing field where both Dante and enemies would die in a single hit. Although there is a degree of challenge to be gleaned, theoretically, by everything dying in one hit, Dante’s guns make quick use of both enemies and bosses. As a result, one has to question why Heaven or Hell was even included in the first place.

Devil May Cry is a franchise that prides itself on its difficulty, to the point where one could argue that any given game in the series isn’t over until Dante Must Die is cleared in full. While the series has never strayed away from catering to a more casual player base, offering an Easy mode as early as the first game, DMC has never catered to said audience. The escalation of a challenge is the appeal of the series, which Heaven or Hell deliberately flies in the face of. Upon completing the single hardest difficulty in the game, players aren’t rewarded with yet another tier in their gauntlet, but an incredibly easy mode that can be cleared by simply spamming the square button.

Which is actually quite brilliant, all things considered. Rather than closing the curtains with Dante Must Die, Devil May Cry 3: Special Edition crafted a scenario where players were granted a victory lap of sorts. After all, was said and done, players could get an emotional release from burning through missions and bosses that previously gave them a considerable amount of trouble. Defeating a difficult boss with a single bullet is inherently satisfying, even more so when taking into consideration the journey a player has to go through in order to unlock Heaven or Hell.

Dante-and-Vergil

If Heaven or Hell were unlocked any earlier in the game, it wouldn’t be nearly as satisfying an unlockable. While the mode would still be charming in its own right, it loses its cathartic nature by sheer virtue of preceding Dante Must Die. Heaven or Hell is the reward, a proof of a player’s mastery. Only upon conquering the hardest challenge is a player allowed a chance to decompress. Even though Very Hard very much lives up to its title, the mere fact it isn’t the pinnacle of Devil May Cry 3’s difficulty means that Heaven or Hell would be out of place coming between it and Dante Must Die.

Given its context in the Devil May Cry franchise, it can be easy to take Heaven or Hell for granted.

More importantly, Heaven or Hell coming any earlier would break the natural progression of the game. There is a clear, gradual build up from Normal mode to Dante Must Die. From as early as the first game, each difficulty was used as a means of improving one’s skills. In the context of Devil May Cry 3, the journey from Normal, to Hard, to Very Hard, to Dante Must Die is one that ensures each new mode teaches players how to properly utilize the game’s mechanics to their advantage. Dante Must Die will always be difficult, but not nearly as brutal as it would be otherwise if players somehow managed to skip Very Hard altogether.

This same principle applies to a scenario where, after Very Hard, players take a break with a mode intentionally designed to be easier. By the time Dante Must Die occurs, it’s entirely possible that one’s skills would have deteriorated to some extent. Heaven or Hell’s very nature means that it is impossible to practice combos or develop strategies against bosses. Which is perfectly fine after Dante Must Die, but potentially disastrous before it. A particularly skilled player may not see any downside to tackling Heaven or Hell before Dante Must Die, granted, but the fact of the matter is that the game’s progression would nonetheless be broken.

Dante-and-Jester Heaven or Hell

When it comes down to it, what catharsis is there to be gained when the greatest challenge lies in wait? A victory lap should celebrate a player’s skills and Heaven or Hell does just that. It’s more than just a nice, extra mode, however. Heaven or Hell does something that can only be down in the gaming medium. Capcom hands the reigns to the player and says “well done, you’ve earned it.” Heaven or Hell’s very nature is one that elicits an emotional response from the player, if only to just relax them after hours of challenging gameplay. Catharsis can be felt in any medium, all things considered, but only the gaming medium can force catharsis on the player.

Given its context in the Devil May Cry franchise, it can be easy to take Heaven or Hell for granted. As is the case with any mode in DMC, Heaven or Hell is more than just another mode. It is deliberate not just in its design, but in its placement, in the context of the games, it appears in. Heaven or Hell may not be as expertly crafted in terms of enemy placement or pure enemy design, but it isn’t the kind of mode that needs to be. Heaven or Hell seeks to elicit a positive, emotional response from the player, and it pulls it off with that elegant, Devil May Cry touch.  

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Devil May Cry

‘Devil May Cry 5’ – Impressive Lack of Filler

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Devil May Cry 5

The Devil May Cry franchise has always had a bit of an issue with filler. Although the first and third titles managed to balance their non-action gameplay fairly well in regards to pacing, Devil May Cry 4— along with the reboot— placed too much emphasis on “variety.” In the context of Devil May Cry, variety within gameplay tends to amount to light exploration, platforming, or some form of puzzle solving. On a conceptual level, it does make sense to vary gameplay as much as possible. After all, too much of one mechanic can lead to a game coming off derivative. At the same time, straying from core mechanics too often can give an impression of insecurity, that the development team— and thereby the game— lacks the confidence to embrace itself in earnest.

Although the notion that DMC 1 and 3 are insecure of themselves might come off as laughable to fans of the genre and series alike, it is worth noting that there is some truth to said sentiment in regards to the rest of the pre-5 franchise. While the original Devil May Cry managed to pace itself rather well thanks to its arcade-like nature, several missions made use of gimmicks that strayed greatly from the core mechanics with the Ghost Ship being the most notorious outlier.

Devil May Cry 2 might as well be the definition of filler. In a desperate attempt to make itself appear “bigger and better” than its predecessor, DMC2 places an incredible amount of emphasis on space. As a result, missions– which were once carefully built around specific set-pieces that had as little negative space as possible– not taking place on large fields with poor enemy placement. Making matters all the worse, the sequel leans in far too much into the puzzle solving elements, leaving the combat painfully under-cooked.

Even Devil May Cry 3, which is often considered not only the greatest game in the franchise but in its genre, is victim to filler. Granted, it’s on a much smaller scale and the general design of the whole game is incredibly tight, but this only makes the filler-esque moments stand out all the worse. There’s nary a good reason why Dante should have to endure a boss rush that’s tied to a puzzle right before the game’s finale. Earlier missions, as well, play up the exploratory elements of the first game a bit too much seemingly to simply prove that DMC3 is the “true” successor to series’ origin point.

While Devil May Cry 4 more or less acts as a natural extension of DMC3 gameplay-wise, it fumbles spectacularly when it comes to level design. Just about every single mission features a stage defining gimmick that tanks potential replayability to an extreme. This is to say nothing of the fact that Dante’s third of the game might as involves him not only backtracking through Nero’s stages, but fighting Nero’s bosses, giving the impression that DMC4’s back-half is little more than literal filler to pad out the game. Going into the reboot, DmC: Devil May Cry, Ninja Theory simply pushed the fourth game’s insistence on non-action elements, shining a spotlight on platforming and pure exploration.

All this is not to say that Devil May Cry as a franchise is lesser than perceived because it often uses filler as a crutch. Far from it– Devil May Cry 1 and 3 remain two of the greatest action games ever made. Rather, it’s to shine a light on just how surprising Devil May Cry 5’s total lack of filler is. While only time will tell where DMC5’s legacy will fall exactly in regards to the first and third game, it’s quite clear from a pure design perspective that the franchise’s fifth mainline entry understands exactly where the series’ fat was and why it needed trimming. It’s one thing to omit filler entirely; it’s another to comprehend why said filler should be omitted.

In many respects, Devil May Cry 5 was more or less Capcom’s chance to prove that the franchise could once again reach the same highs as DMC3. In following both Devil May Cry 4 and DmC, the series’ fifth entry needed to be more than a return to form, although a simple return to form likely would have sufficed considering the series’ fairly rocky road-map from the first game to the fifth. More importantly, Capcom saw an opportunity not to reinvent the Devil May Cry brand, but to refine it.

Devil May Cry, at its best, has always understood the need to look back on itself in order to move forward. This is best evidenced by how Devil May Cry 3 directly lifted several of the second game’s elements in order to bolster its own foundation. Although DMC5 does this as well, it more interestingly does so from a level design perspective, something the series had always been fairly complacent with. If anything, the longer the franchise went on, the more the games seemingly saw fit to include non-action elements to near extreme measures.

Devil May Cry 4 is an excellent game on a purely mechanical level, but it suffers immensely thanks to its abundance of filler. While there are very legitimate reasons behind the backtracking in the campaign’s second half, this doesn’t change the fact that it’s all mainly filler. Well dressed filler, but filler nonetheless. DmC: Devil May Cry which, admittedly, has the benefit of being a finished game over DMC4, puts too much stock in its non-action elements making for playthroughs that often go by far too slow for their own good. What makes the filler damning isn’t so much their presence, but the nature of the franchise. Devil May Cry is a series built on replayability.

Were it not for Bloody Palace, it would be legitimately tiring returning to Devil May Cry 4 with the same fervor some fans return to DMC3 with. Even the first game understood that its foundation was one built on replayability. By the time players would reach Dante Must Die, the puzzles and exploration would no longer be a problem because they would, logically, already understand the solutions. With Devil May Cry 4, however, and by extension DmC: Devil May Cry, this same workaround simply doesn’t work due to the fact that puzzles, platforming, and exploration are just too time-consuming for their own good. The more time a player spends away from the core gameplay, the less the core gameplay gets a chance to leave as much an impact.

Which is ultimately what Devil May Cry 5 excels at over the rest of the series. From the start of the prologue to the very end of mission 20, there is not a single moment that stands out as explicit filler. Though platforming sections still have their place, particularly when playing as Nero, they neither outstay their welcome or ever take away from the core combat. In previous games, platforming sections would genuinely be their own sections. As per the rules of basic level design, they would connect to other areas, but not without taking their own chunk of time. Now, they’re quick, easy to maneuver, and most importantly, optional more often than not.

This philosophy towards filler is put on full display in mission 15, Nero’s last stage before the final boss. A level with multiple branching paths, players can either opt to take on an obstacle course of sorts that features its own rewards, (such as a Gold Orb, Blue Orb, and Trophy,) or simply take on a gauntlet of enemies. In a previous entry, Nero would likely have been forced to endure the obstacle course spliced in with the enemies, but Devil May Cry 5 cleverly, and correctly, chooses to make any perceived filler optional.

Which in itself is something very much worth taking note of. Content that would be seen as filler when mandatory becomes far more appealing when made optional. Aside from a few bonuses, there’s genuinely no harm in avoiding Nero’s obstacle course. If anything, the fact it can be avoided makes the prospect of clearing it all more appealing. Its optional nature also means Capcom can up the difficulty of the course without cannibalizing the mission’s pacing. The closest the series had ever come to this philosophy before was with Devil May Cry 3’s 18th mission where Dante could earn a Blue Orb shard by clearing the boss rush in its entirety. DMC5 sees that approach and takes it to its natural next step.

It isn’t as if this approach makes missions shorter, either. In previous games, removing the filler would trim levels quite a bit, but Devil May Cry 5 simply uses more action scenarios. Where a platforming challenge or puzzle would once rear its ugly end, more enemies take their place. Mission 16 with Dante essentially plays out like one gauntlet after the next with only some light platforming to serve as a pace breaker. Even then, pulling off some of the trickier platforming sections will net the player with bonuses along with extra fights.

Of course, removing the filler doesn’t suddenly make Devil May Cry 5 the Alpha and the Omega of the hack ‘n’ slash genre. Filler or not, DMC5 struggles with its own difficulty balancing on Dante Must Die and never quite manages to find the right pacing when it comes to playing as Nero, V, or Dante (although the emphasis on Dante in the back half is absolutely the right call from a design perspective.) Ultimately, though, those problems aren’t all that major of problems. If anything, they’re far lesser than Devil May Cry 4’s second half; DmC: Devil May Cry’s insistence on dedicated platforming sections; and Devil May Cry 2’s everything.

By simply keeping the focus on the combat, Devil May Cry 5 is perhaps the easiest game to replay in the series. Not because it’s easier than previous entries (a topic for another day,) but because players are never subjected to content they clearly aren’t playing Devil May Cry for. When it comes down to it, no one plays DMC for the platforming or puzzle sections; at least not solely for them. The core appeal has always been the action; the combat; the spectacle of it all. Not every mission in DMC5 is a hit, but the majority are, more so than any other game in the series save for the third. That in itself is a testament to how tightly designed Devil May Cry 5 is. Devil May Cry 5 is not the reinvention of the wheel, but it’s more than just a return to form: it’s a refinement.

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Devil May Cry

‘Devil May Cry 5’ – Hell is much too Serious to be Taken Seriously

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Devil May Cry 5

If you don’t count the spinoff/reboot DmC developed by Ninja Theory, 2019 marks eleven years since we last had a proper entry in the Devil May Cry series. That’s a long time to wait for loyal fans but thankfully Devil May Cry 5 is a return to form and more importantly, almost everything about those original games has been improved.

Developed in-house at Capcom by a team of series veterans, Devil May Cry 5 is sprawling, infectious, inventive, ambitious, and downright thrilling. The momentum never lets up from the second the prologue begins and for roughly 15 hours and exactly 20 missions, Devil May Cry 5 is electrifying. Director Hideaki Itsuno and his team have delivered quite possibly the goriest, craziest, most eye-blowing (there’s a lot of eyeballs), chunk-spewing, head-exploding installment of the series yet. Propelled by non-stop, over-the-top action, geysers of blood and fetishistic metamorphoses, DMC5 must be played seen to be believed. It’s spectacular, irresistible, unapologetically juvenile and totally fucken insane – a mesmerizing piece of art that experimentally pushes the series to daring new heights.

Devil May Cry 5 Bosses

Hell on Earth

For a game that revolves almost entirely around frenetic action, Devil May Cry 5 features a surprisingly engaging story that weaves its fair share of twists and turns while also leaving plenty of room for meaningful character development. That’s not to say these characters are fully fleshed out, but by the time the credits roll, Devil May Cry 5 does an admirable job in at least explaining their motivations, past traumas, and their relation to one another. What starts out simple enough, eventually introduces a tangled mystery that should have most players invested, regardless of their familiarity with the series.

Set five years after the events of Devil May Cry 4, DMC 5 takes a non-linear approach in storytelling and jumps back and forth in time with events viewed from multiple vantage points. Dante and Nero are back, along with the mysterious V with the goal of destroying a demon named Urizen who has planted an enormous demonic tree that is draining the city of Red Grave of all its blood. When the assembled group fail in their attempt to stop Urizen and are forced to retreat, the demon king captures Lady and Trish, turning them into cores for the demons Artemis and Cavaliere Angelo. A month later, Nero returns to Red Grave after being outfitted with deadly prosthetic arms made specifically for him by series newcomer, Nico. Along with V, set out on a quest to stop the demon Goliath, who is seeking Qliphoth for its fruit – a fruit which gives whoever consumes it, the power to rule the Underworld.

It sounds dark and depressing but thankfully Devil May Cry 5 never takes itself too seriously, often shifting toward delicious camp and interjecting playful quips, zippy one-liners and zany interludes like Dante’s impressive Michael Jackson impersonation. It helps, the story is genuinely funny at times and supported by fine performances, impressive motion capture and an overarching tone of jaunty good fun!

Dante Michael Jackson

Over the course of the game’s twenty chapters, the relationship among the three men becomes increasingly complicated. Sibling rivalry, daddy issues, and dark family secrets push the narrative forward and each of the three main characters is given just enough screen time; just enough flashbacks and just enough dialogue to make their motivations clear. For a game as bloody and violent as this, there are plenty of emotional beats and just enough human spirit to sell itself. And even if like me, you don’t recognize the nods to many of the series’ most iconic moments, you’ll at least walk away understanding what makes each of the three main characters tick.

Devil May Cry 5 Story

What drives a story more? A strong plot or good characters?

The Devil May Cry franchise is known for its stylish fighting and so it shouldn’t come as a surprise that Devil May Cry 5 looks and feels very similar to the original series. This time around, players take control of three characters, each with their own unique and creative playstyles. Devil May Cry’s poster child Dante has four fighting styles in total (Trickster, Swordmaster, Gunslinger, and Royalguard) and can even wield a demonic motorcycle that transforms into two chainsaws creating a bloody spectacular setpiece when in battle. But while Dante may be the star of the series, he’s somewhat overshadowed by his two counterparts.

Devil May Cry 5 begins by first putting the player in the shoes of the one-armed, silver-haired demon hunter Nero who wields a giant sword, a pistol, and disposable prosthetic arms called Devil Breakers that give Nero access to an assortment of special abilities depending on which Devil Breaker he is carrying. Of the three men, Nero is arguably the most fun to control thanks to his rebellious nature and grappling hook. In contrast with Dante’s laid-back attitude, Nero leaves you caring about each character because he himself cares.

V’s familiars, Shadow, Griffon, and Nightmare, are direct nods to DMC1 bosses of the same names.

V, on the other hand, is a frail poet shrouded in mystery who commands a demonic condor with the power to control wind and lightning and a panther who can morph into a spear-like form to lunge at enemies. The latter (Shadow) attacks at close range by inflicting melee attacks, while the former (Griffon) fires projectiles from a distance. V is also accompanied by a third familiar named Nightmare, a giant black demon made entirely out of a demonic fluid who can inflict ridiculous damage for short bursts of time. At first glance, V doesn’t seem as fun to control as Nero or Dante given that he must rely on his three companions to inflict damage on his enemies, but it doesn’t take long to realize that controlling V and his three familiars adds a welcome change of pace to the combat, made all the more rewarding by having to teleport V to deliver the final blow.

Unfortunately, the three ladies in Devil May Cry 5 don’t have much to say or do, most notably Trish and Lady who make an appearance as the damsels in distress, only to be quickly captured, later saved and in one case, stripped completely nude for no reason whatsoever. Luckily, the chain-smoking gunsmith, Nico helps lighten the mood with her sense of humour as she drives around town selling our heroes weaponry. Nico may not get as much screen time as the men at the center of the story but when she does, she comes across as a headstrong, intelligent businesswoman with a positive outlook on life, no matter how many bad cards she was dealt.

Urizen Devil May Cry 5

Of course, every great story has a great villain and Devil May Cry 5 is no exception. One of the best things about the game is Urizen, a colossal humanoid demon who appears multiple times in the game, each time, reinventing himself. Devil May Cry 5 has plenty of other nightmarish creatures to fight as well, and there are few games out there that can match the intensity of these boss fights. A special mention must be made for the final boss (no spoilers here), who doesn’t just provide the story’s final twist but also represents the toughest challenge.

Devil May Cry Nico

The Devil is in the Detail

Like past installments, Devil May Cry 5 focuses intensely on combat making it a nonstop visual assault, but for a game blood-drunk on its own artful excess, Devil May Cry 5 is also a character-driven game, and without these characters, I’d argue it would be just another hack-n-slash outing that leans towards monotony. It’s not just that you have three very different warriors to control. It’s not just that one of these three characters comes with three additional characters to also control. It’s not just that Dante, Nero, and V all look so incredibly stylish and each has a unique fighting style – but I’d argue that each cutscene brings with it a much needed momentary break from the chaos unraveling onscreen. For a game in which the camera struggles to keep up with the action, these characters are the heart, soul, and center of it all. Personality goes a long way and despite some poorly written dialogue, Devil May Cry 5’s characters are a blast to watch.

A story certainly needs a plot but what makes a story even more interesting is who it’s happening to. Devil May Cry 5 will never win a Pulitzer but the developers went out of their way to create some of the most impressive cinematic cutscenes in order to spotlight their cast. And it’s in these cutscenes that the skills of the artists truly shine. The amount of detail in the character work is truly remarkable and at times, Devil May Cry 5 gives Hollywood a run for its money. The opening slow-motion credits sequence alone is worth applauding as Nero and co. move about the frame as the titles artfully blend into the environments.

Of course, it helps that Devil May Cry 5 is indeed a gorgeous game. It represents a huge leap in visual complexity for this series and is another brilliant outing for Capcom’s RE engine. They say the devil is in the details and every detail, from the motion capture performances right down to the facial expressions – to the blood-soaked apocalyptic ruins of the gloomy Gothic European city landscape to the intestinal corridors that transport our heroes deeper into the pits of Hell – is nothing short of spectacular! I especially love the cinematic lighting, the subtle shadowing, the reflections off wet surfaces and the urban graffiti covering the city’s walls.

Devil May Cry 5 Review

Perhaps I’m still in that honeymoon phase, mainly because I just finished the game and mostly because Devil May Cry 5 is about as exciting as video games get, but as it stands, Devil May Cry 5 is one of the best games of the year so far, second only to Resident Evil 2 (another brilliant outing by Capcom). I’ll be curious to see what is written about this game long-term as I surely expect some pushback from longtime fans. Regardless, despite being one of the most hyped action games of the year, Devil May Cry 5 does not disappoint in the slightest even with the ridiculous amount of high expectations going in. One thing’s for sure, Capcom is back and I can’t wait to see what other surprises they have in store for fans in the near future.

  • Ricky D
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