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  #31  
Old 03-09-2019, 06:28 PM
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I just beat the game. Big secret spoiler here so don't read if you wanna find it on your own. Technically, anyway. Spent my time with it yesterday and today doing a small barely worth it secret ending that you shouldn't try to do until you're upgraded cuz it's really really hard. Son of Sparda unlocked with nothing more than an S rank in the prologue, WOO! And everyone lived happily ever after.
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  #32  
Old 03-10-2019, 11:29 AM
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V tips (maybe): never attack manually if you can help it; instead continually refresh Shadow and Griffon's DT so they handle the scuffles while V hangs back reciting motivational poetry. Most fun, most in-character, and most efficient all in one.
I honestly don't know how you play V any other way, because if you just press attack that cat HATES attacking enemies and looooooves just kinda wailing on empty air for a few minutes.

Also, with both this and Oathbreaker's last post, you guys are going crazy with spoiler tags. Neither of these are even remotely spoilers.

But I'm also salty because I'm bad at this game and I kind of hate it. I mean... the whole thing where you can only do most moves when targeting an enemy... it's terrible, right? You can't DODGE if you're not targeting! The Artemis boss fight almost made me quit the game.
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  #33  
Old 03-10-2019, 11:37 AM
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Also, with both this and Oathbreaker's last post, you guys are going crazy with spoiler tags. Neither of these are even remotely spoilers.
It's a very new game and while my own personal take on spoilers is that I don't worry about them at all, that's not the case for everyone and neither you or I get to make that call for anyone else, so why not be mindful according to one's own judgement? I don't see how it's an issue to highlight text or clicking open a spoilerpop.
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  #34  
Old 03-10-2019, 12:44 PM
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But I'm also salty because I'm bad at this game and I kind of hate it. I mean... the whole thing where you can only do most moves when targeting an enemy... it's terrible, right? You can't DODGE if you're not targeting! The Artemis boss fight almost made me quit the game.
I mean, because there are so many combos in the game it kind of became necessary for some of them to have directional inputs, and directional inputs don't work with the current character control where you instantly face the direction you press. Lock-on is kinda necessary there, but with enough practice you learn to only use lock-on when you need to use a directional input for the attack you want. It does take getting used to.

That said the game has your back a little bit on dodging. Jumping has about 10 frames of invincibility on it, so if you properly time a jump it acts as a dodge, and also helps get out of the way of things in general.
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  #35  
Old 03-10-2019, 07:17 PM
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But I'm also salty because I'm bad at this game and I kind of hate it. I mean... the whole thing where you can only do most moves when targeting an enemy... it's terrible, right? You can't DODGE if you're not targeting! The Artemis boss fight almost made me quit the game.
I don't wanna be a Gamer, but based on this and your last post I get the feeling this genre isn't really your thing.
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  #36  
Old 03-10-2019, 07:51 PM
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I don't wanna be a Gamer, but based on this and your last post I get the feeling this genre isn't really your thing.
I've finished and enjoyed every other Devil May Cry (except 2, no one enjoyed 2). Unfortunately it's been too long to remember if this game is significantly different in some way, but it seems like a real mess of half-baked systems and bad controls. Nero's arms in particular don't make a lot of sense, they take up so much of the game's real estate but seem really ill-conceived.

And I'm sorry, but games like this that grade you should stop. If I beat a hard boss I should feel triumphant. If I die to a boss in, say, Bloodborne a dozen times, when I win it still explodes and says "PREY SLAUGHTERED". In this if that happens it says, "Boy, you sure did a bad job!" It's the same flaw that was in Mega Man Zero all those years ago.

And this is incidental but how the heck does the online work? It keeps telling me that something is starring another player but I never see them, and then sometimes I'm asked if someone is cool and obviously I say yes but like, where were they?
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  #37  
Old 03-10-2019, 08:13 PM
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Unfortunately it's been too long to remember if this game is significantly different in some way, but it seems like a real mess of half-baked systems and bad controls. Nero's arms in particular don't make a lot of sense, they take up so much of the game's real estate but seem really ill-conceived.
I think you have lapsed impressions of the older games, then, because 5 is by far the most versatile and fluidly controlling and playing game out of any of them. The depth of options inherent to every character and how distinctly they all play, and the game still being able to wrangle all of it into a coherent whole is a real marvel of action game design. Nero's upgraded armaments especially have addressed the central criticisms that orbited him in 4, where he was intuitive, reliable and unique, but lacked in variety of personal expression. That's no longer the case with so many dynamic modifiers he has access to now, and he's really risen on a mechanical level to be the successor to the series's starring role in the way the narrative wants him to be.

As far as grading, that's fundamentally what the series is about, really explicitly: the incremental process of mastery of its mechanics and systems through iterative play, and the joy of improving one's skills and understanding of them. It's not really something that would behoove the experience to remove when it's built so much around it to begin with. Seeing a low ranking at the end of a mission can be discouraging, sure, but it can also be a motivator to do better next time. Bloodborne doesn't grade you because its concern as far as combat is fairly binary--either you survived, or you didn't, and that in itself is the equalizer. You can interact with Devil May Cry at multiple skill levels and find satisfaction, but its heart is always going to be in stylish performance over simple survival.
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  #38  
Old 03-10-2019, 08:25 PM
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And this is incidental but how the heck does the online work? It keeps telling me that something is starring another player but I never see them, and then sometimes I'm asked if someone is cool and obviously I say yes but like, where were they?
It's starring ghost data that the server records of what the other players did when they went through that encounter as a character you aren't currently playing. So any time you see V off fighting in the distance or something and the game says "Starring [PS4 rando]" you're seeing their encounter. Sometimes you'll have one in the same encounter as you and it'll still be what they did but it adjusts to the best of its ability to how you're doing. If it says "The DMC Crew" it's just randomly generated activity which it will always be if you turn the Network matchmaking off.
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  #39  
Old 03-10-2019, 08:29 PM
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As far as grading, that's fundamentally what the series is about, really explicitly: the incremental process of mastery of its mechanics and systems through iterative play, and the joy of improving one's skills and understanding of them. It's not really something that would behoove the experience to remove when it's built so much around it to begin with. Seeing a low ranking at the end of a mission can be discouraging, sure, but it can also be a motivator to do better next time. Bloodborne doesn't grade you because its concern as far as combat is fairly binary--either you survived, or you didn't, and that in itself is the equalizer. You can interact with Devil May Cry at multiple skill levels and find satisfaction, but its heart is always going to be in stylish performance over simple survival.
This. Try to think of the letter grade not as "how well did I do?" and more as "how stylish was I?"
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  #40  
Old 03-10-2019, 11:28 PM
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And I'm sorry, but games like this that grade you should stop. If I beat a hard boss I should feel triumphant. If I die to a boss in, say, Bloodborne a dozen times, when I win it still explodes and says "PREY SLAUGHTERED". In this if that happens it says, "Boy, you sure did a bad job!" It's the same flaw that was in Mega Man Zero all those years ago.
Yeah but if you don't think grades are necessary, why not just ignore it? If Getting The High Score™ isn't what you care about, then just ignore it and it doesn't matter...? It's not there for you, it's for the people who want it? I...don't understand why this is a problem????
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  #41  
Old 03-11-2019, 09:55 AM
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I'm at the home stretch (Mission 18) but I wanted to savor it when I could play through the (presumably) end in its entirety so it's gonna wait for tonight or some other day this week.

So far I love this game. It addresses everything that OG 4 was lacking while also throwing in new stuff to keep me very happy (unexpected new favorite weapon: dual-wielding motorcycles). I admit I haven't really explored all the Devil Breakers for Nero, but I will get around to it, and the game itself does an adequate job of giving you a playground for that kind of experimentation.

As Peklo discussed, it is unfortunate how sidelined all the female characters are this time (especially since 4 was already bad at this), but at this point I never expect anything better from the series. Which is a whole other issue that sucks. Honestly I'm wondering how long they can keep this thing going; it seems like it's gonna always have the DBZ problem where Dante is just so. freaking. strong. and even their attempts to introduce a new protagonist is always gonna be in the shadow of what The Fans really want. That said, I haven't seen the ending yet. And also, Dante is just always so fucking fun to play as, it's like they've designed themselves into a corner because it's gonna be disappointing to ever play a DMC that doesn't have a character as complex as Dante. I can imagine a sort of "soft-gameplay-reboot" that scales everything back to DMC1-levels, sort of like what Capcom did with RE7, but I'm skeptical they would actually do that in the current action game climate.
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  #42  
Old 03-11-2019, 05:20 PM
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My graphics card is from 2015 and...ya know, I can run most stuff. Anthem's been running like shit (like sub-30 frames when things get wild) but everything else I try to run I can run on AT LEAST Low if not Medium or better. It depends, but I can usually mess with settings and get 60 FPS out of everything.

But when I played the RE2k19 demo, I had to run on Low and things didn't look great. It was totally playable and mostly even looked good, but the textures were kinda low quality up close.

I bought a new graphics card for Sekiro so I was gonna wait till it came to boot up DMC5. But then today I was like eh fuck it I wanna try this...and it actually looks AMAZING?! Like I can run it with everything on Medium or High and it runs super smooth?!

I dunno, I'm just impressed by Capcom PC ports lately. It's weird living in an age where a Japanese company put effort into a PC port, but that's starting to become the norm. What a world...

Also, needless to say, this game is rad. Nero's new mechanics are great.
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  #43  
Old 03-13-2019, 01:03 PM
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Second round on Son of Sparda over and done with. This time I wasn't propelled by narrative momentum and the game's generous handing out of gold orbs anymore, forcing me to actually learn the last few fights. Dante's final battle especially became a tremendous school of hard knocks, as I decided to go for maximum precision and execution and actually learned to use Royal Guard efficiently for once. An extremely satisfying S-rank by the end of it. Now I'll get to be slammed back down from my perch in Dante Must Die!
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  #44  
Old 03-13-2019, 04:16 PM
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Son of Sparda
Royal Guard
I'm looking forward to getting to that point so much. I never actually learned Royal Guard at all until DMC4 SE even though I knew it could be extremely good but I still never really got into using it. But having seen the final fight, good lord do I need to start.

I've got a slightly longer than a week long trip coming up on Friday so instead of going through the game and risking not being able to finish it before I leave I've mostly gone all-in with the enormous execution time-sink that is the secret final boss (or at least it's a time-sink the way I've been doing it). I just managed to do it on Son of Sparda this morning and it's to the point where I rarely miss exceed timing anymore except on Nero's Combo B final hit, and I'm getting MAX-Act about 15% of the time which actually feels like a lot. I wouldn't even have those but I needed to at least unlock the ability to buy upgrades or I was never going to be able to do it. I can safely say I will not be doing this on Dante Must Die until I actually beat the game though. It was super satisfying up to now, but that's just gonna be painful if I don't bring in everything I can. It was super fun realizing that some of Nero's moves have hyper armor though, that was immensely useful.
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  #45  
Old 03-14-2019, 03:10 AM
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Jeez, I was switching between Nero and V just fine, but I just went back from Dante to Nero, and man did I completely forget what I was doing.
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  #46  
Old 03-14-2019, 05:42 AM
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I just realized a cute nod to DMC 1 in mission 11. In the cutscene right before the fight with Cavalier Angelo starts, it throws a motorcycle at Dante, just like Trish in the intro to DMC 1. And Trish is the one inside of Cavalier Angelo
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  #47  
Old 03-14-2019, 07:38 AM
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That's actually related to something I'm increasingly frustrated about the more I play the game: it's not "just" that the women in DMC5 don't get to do anything. It's not just that they're abducted, incapacitated, absent or dead. It's that when you get to parts like Cavaliere Angelo, a very exciting and engaging battle, it's built on the sacrifices of invisible women. It's a battle where Dante technically fights Trish, constantly addresses Trish in dialogue--only we aren't fighting Trish, just an irrelevant exterior she's trapped inside, robbed of anything resembling personal agency. This series is known for many things, loved for many things, but a pre-eminent aspect of it always comes back to the tense one-on-one fights against opponents of analogous stature and ability--the Nelo Angelos, the Vergils, the Credos, the Dantes. It's spent so much time developing what's essentially a generational narrative of deeply interpersonal familial infighting and high drama, and it's always just about the dudes, dudes, dudes. They had a chance here to incorporate that sense of narrative weight in combination and in support of the mechanical storytelling that's always afforded to the men battling each other--we could have had a rival fight with Trish, the sort that leaves people in awe years into the future. Instead, her non-presence is just a reminder of how this series is, and always has been. For a game that lives and breathes wistful nostalgia for its own history, Devil May Cry 5's sidelining of Trish is certainly in keeping with the series's past in its authenticity--it's just one part of the lineage that should've been reassessed and reinterpreted, something the game is clearly capable of doing in other contexts.
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  #48  
Old 03-15-2019, 11:38 AM
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I saw an article on USGamer yesterday too that bemoaned the game's treatment of Nero. Both you and the USGuy aren't wrong; narratively this game could've done more and it didn't. My personal stance is "why would you expect DMC of all things to do that"; DMC has always been about "man isn't Dante cool as Hell" and this game is basically everyone asking "where's Dante" in any scene that doesn't have Dante in it. So it doesn't bother me at all, but I get where you're coming from.

In particular, after DMC4SE, it bothers me that you can't play as Lady and Trish when they have established movesets and are cool characters that have already been introduced ages ago. Alternating between Dante/V/Nero is cool, and I guess you could argue that adding them to the mix would dilute things and the game is already complicated enough, but still. Maybe in the Bloody Palace DLC you can play them? Maybe?

Also, apropos of nothing, I unlocked Dante yesterday and GOOD LORD. Dante is so good; he's impossibly complicated for someone who's never played DMC before, but for me? Someone who's been playing since DMC1? He's the best he's ever felt, and the sheer amount of options he has at any given time is positively bonkers. I felt bad leaving Nero behind, because he feels better than he did in 4, but dear God...Dante's movelist is so satisfying, it's nuts. Getting the motorcycle/buzzsaw weapon and Cowboy hat "gun" two levels in a row should be illegal.

Also also, V kinda sucks. He's fine, but playing as him I would classify as "more trouble than it's worth". What really bothers me is that his dodges recall his Stands, so once you're done dodging you have to get your Stands back in position again before you can resume attacking. It's also annoying having to manage directional attacks with the bird; you can't be backing up if you want the neutral charge attack, for instance, because then you get the back attack. It's overly deliberate in a way that feels tedious, and this is one paragraph after I just said I loved how complicated Dante's movelist is. Whereas him and Nero feel complicated but fluid, more often than not I feel like what I'm doing as V feels stiff and awkward. It just doesn't "speak" to me.
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  #49  
Old 03-15-2019, 03:38 PM
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Also also, V kinda sucks. He's fine, but playing as him I would classify as "more trouble than it's worth". What really bothers me is that his dodges recall his Stands, so once you're done dodging you have to get your Stands back in position again before you can resume attacking. It's also annoying having to manage directional attacks with the bird; you can't be backing up if you want the neutral charge attack, for instance, because then you get the back attack. It's overly deliberate in a way that feels tedious, and this is one paragraph after I just said I loved how complicated Dante's movelist is. Whereas him and Nero feel complicated but fluid, more often than not I feel like what I'm doing as V feels stiff and awkward. It just doesn't "speak" to me.
My brother who mains characters like Venom in Guilty Gear and other zoning characters is really liking V and performs best with him, and by the sounds of it the variety is really nice.

I, definitely, will do much better with Dante and Nero once I get my hands on the game though haha. You gotta rush and you gotta not stop rushing.
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  #50  
Old 03-15-2019, 03:48 PM
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I saw an article on USGamer yesterday too that bemoaned the game's treatment of Nero. Both you and the USGuy aren't wrong; narratively this game could've done more and it didn't. My personal stance is "why would you expect DMC of all things to do that"; DMC has always been about "man isn't Dante cool as Hell" and this game is basically everyone asking "where's Dante" in any scene that doesn't have Dante in it. So it doesn't bother me at all, but I get where you're coming from.
I hadn't read that article before (it's here), but I don't agree with it regarding Devil May Cry and masculinity and want to offer my own take on things. But to get where we need to go, I think we have to explore the central masculine cast that's defined the series up to this point. Spoilers for most of the series in its entirety, including all of DMC5:

Dante lives in pop culture as a cocky, supremely self-confident, fun-loving and hypercompetent demon hunter. He's got a certain air of jovial, goofy masculine "cool" down to a science through successive iterative takes on the character. When we think of Dante, we think of his corny lines in iconic scenes; his visual design that's simultaneously emblematic of and inspiration to countless other red-garbed high-contrast hairdo'd supernatural figures; his relentlessly performative show-off violence when battling demons. That's all important, and because it's also surface, it's definitive in how we perceive him. Equally as important to me is Dante's consistent characterization as someone who's governed by his emotions through all his life. DMC3 presents us with an arc where his life of escapism in self-indulgent hedonism is brought into critical reassessment when he actually has to confront his own feelings about family and the trauma in his past, and where to move on from there. Dante cries for those he's lost at the end, and in accordance with masculine fears and anxieties, can't openly show that he is, and transparently tries to save face in denial. But he also leans into it, by naming his business, home and series's namesake after it: even a Devil May Cry when he loses a loved one, and be renewed through newfound purpose in honoring those he cares about. Dante's Awakening isn't just a stock subtitle, and it's not just his awakening into his demonic power and legacy--it's him coming out of his emotional shell, erected in protection of his own self after surviving childhood trauma.

The Dante of Devil May Cry then is a Dante who's embraced his lineage and his family as defining aspects of his life. It's seen in the portrait of his mother he displays prominently on the desk where he spends most of his downtime. It's in how he regards his father, full of pride and admiration, seeking to embody the same righteous heart of the absent figure who too "awoke to justice" in his own time. He never takes off the pendant that holds such significance to him, reflecting every facet of his family. Dante fights numerous demons throughout the game, and with each he develops a sort of friendly camaraderie, making banter with them, regarding them with fondness, even becoming angry on their behalf when they're abused by someone crueler than him. This is Dante's masculinity in action, and why he's not a bully despite his often overwhelming power: he genuinely cares for the people around him, and the violence he applies is only ever used on those who are belligerent and able to defend themselves. The definitive Dante moment in DMC1 is of him crying, again, for a vision of family--but this time openly, desperately, gigantically. This is someone who's no longer repressed in the same way he was before, but leans into the sincere and theatrical in equal measure to express his melancholies. To him, the sky will always be above everyone's head, no different, and in this game--in his debut--the Dante we see embodies that same principle of kindness.

Dante's counterpart and mirror in the series is of course his twin brother Vergil. The theming around them is clear--whatever Dante is, Vergil is not. Dante cracks wise; Vergil is sullen and self-serious. Dante loves to perform for himself and others; Vergil is single-mindedly focused on efficiency. Red against blue, guns against swords, mop-top against slicked-back hair... every possible point of contrast has been engineered between them to highlight the fundamental disagreement that defines their interplay and relationship: how to wield power and what to use it for. Vergil's obsession about the pursuit of power at all costs is not played as a personal strength or an admirable quality; it's Dante, who comes to self-actualize and channel his abilities towards protection in service of others, who ultimately always triumphs over his externally sovereign sibling. And the ongoing tragedy of Vergil--implicit since 3; made explicit in 5--is that his grand philosophy on life stems from the same events that shaped Dante: the absence of a father, the loss of a mother, the helplessness in the face of the inability to protect those he cared for. Vergil latches onto any kind of impressive iconography or symbol of power available to him with a grim grip, as if clutching a safety blanket, whether it's his demonic heritage, the legendary reputation of his father, or his own mastery over the tools he's deemed sufficiently impressive. His arc through the series is the gradual acceptance of his own weakness, that he can't be all-powerful, and how his father wasn't either. But for one who's self-defined by something so singularly self-loathing, the only thing he really can do is to continually lash out against those he lamented losing in the first place. Dante and Vergil's clashes aren't just impressively choreographed setpieces, they're two hurt and traumatized individuals trying to communicate in the primary means they know how, and it's only with the onset of years that words instead of swords start reaching the other. Throughout the series, Vergil's inability to come to terms with his emotions is shown in one final contrast between him and his brother: he does not allow himself to cry, and is worse off for it, trapped by the ghosts of his own past.

Nero is the missing wrinkle on this dynamic, then. When introduced in DMC4, the game goes to great lengths to all but say what DMC5 conclusively confirms: Nero is Vergil's son. His signature colour is purple just like his grandfather's (and the reunified mixture of his father and uncle's divided tones), he is mysteriously demonically empowered, he comes to carry with him the keepsake sword that his father prized all his life. He is at once the successor to his unbeknownst lineage, in both narrative, aesthetical and mechanical terms, as well as the interloper, the youthful outsider upheaving the internalized customs and rituals, both to the audience and the characters within the story. Dante regards him with a curious, playful protectiveness, feeling out dynamics unfamiliar to him, ecstatic at the thought of having an extended family again. Of course, Dante's existence is liminal, outside the norms of "normal" society, and so for the first we see him through someone else's eyes--as a sudden, inexplicable and violent intruder. What Nero's perspective offers is not only this frankly frightening visage of a character we've been endeared to, but casts many assumed truths into question: is Dante always going to be the most important character, the one whose views are prioritized and underlined as being in the right? Or is this the hint of something more? By DMC4's end, the question along with others is left in the air, as unsure of its potential resolution as the game can seem in reconciling between its iconic effective mascot and newly-chosen lead. Still, we again carry with Devil May Cry's ongoing thesis: crying doesn't damage us, repression does, and Nero cries his heart out in an act that roots him to his family's traditions as well as any inherited object in his possession.

Devil May Cry 5 is the culminating realization of all these themes that have carried its cast through the years. It's a deeply self-reflective game, influenced by the entirety of the series's history, not only in what we so casually term "fan service" but in narrative theming around the characters who've been developed over the past decade and a half or more. Reuben Langdon's performance as Dante emanates a sort of quiet weariness, offsetting the character's customary braggadocio; this is a Dante who's older and maybe wiser like in DMC4, but here concerned with stakes that are deeply directly personal and in effect, not a new source of pain for him, so his emotive tone is comparably dulled. He's worn down by the repetitious dance we put him through in eager anticipation, always chasing one more fight with Vergil or Nelo Angelo or whoever else. For the first time in his life, Dante is wistful and sentimental about his own past and own life, recalling past encounters in ways that never touched him before, caught in moments of hindsight. It's with this in mind that his personal struggle against Vergil isn't merely secondary to the world-threatening crisis he's once again instigated--it's everything that matters, to finally reach some kind of closure in his life that's been marked by endless brotherly fighting. Dante fights Vergil again for our pleasure, and he's demonstrably hurt by it as he does, expending not insignificant effort in trying to appeal to his brother with his heart as well as with his brawn.

In Vergil, DMC5 addresses the fundamental self-contradictions inherent to the character in overt and effective ways. A boy and a man who screamed for love and affection and never found it in himself to admit to those feelings can only rip himself apart for it, which Vergil literally does: all his vulnerability, trauma, personal interests, mannerisms, they're all exorcised from him by his own hand and incarnate into the sickly man called V, an exaggerated reflection of everything that made Vergil a person and in his eyes, weak and fallible. Vergil's demonic frame claims no name and is only granted the pseudonym "Urizen" by his divided self--terming his other half to Dante as "your reason" for fighting, and perhaps also to himself. It's through V that we're allowed to see the sides of Vergil that were always there but unable to be expressed uninhibited--his love of William Blake's poetry, his wry sense of humour, his own flair for over-the-top dramatics, his traumatic memory of his servitude as a thrall to the demon responsible for the loss of his family, the pain that's never left him and been implicit in all that he does but never puts into words--and it's through V that Urizen comes to a measure of self-acceptance, eventually becoming whole--becoming Vergil--before the player's eyes literally and figuratively.

And Dante and Vergil fight. They fight like they never have before; like they always have before. They fought as children, they fought as young adults, they fight as weary adults. It's what we wanted, what we yearned for as an audience, as Devil May Cry 3 looms large in the hearts of the people who've spent time with this series. Sate our fannish glee! And DMC5 does, until finally, in danger of providing a superficially compelling reprise and nothing more, Nero brings the series full circle. A series that has been about family, the loss of it, living outside of having it, the painful and awkward remnants of it never going away--Dante and Vergil could never have brought it to a close on their own. Their pain is too close to them, too similar, too fundamental to who they are. They're chained by it, ossified by it in their interactions, going through their self-made rituals unable to escape its pull. Nero isn't bound by the same limitations, because his pain is his own, and he channels his own frustrations, his own trauma, the shock of his newfound family, into a transformative force that enables him to finally break the antagonism between his father and uncle by insisting to be a part of their lives whether they like it or not. In pulling his devil trigger, Nero claims his place in this damaged family that he doesn't want to see hurt any more than they already have been, by others and by themselves. The final battle of Devil May Cry 5 is son battling father, and it's hard to capture how cathartic it is to see Nero get the chance--and us with him--to express every ounce of pain, abandonment and loneliness to Vergil, that icon of repression, with both of them in a position where they might actually listen to each other and build the bridges and connections that were severed so long ago for the previous generation of this family. Nero is no longer an also-ran, a pretender to the main event: through his mechanical evolution and especially his narrative role, he is Devil May Cry and its legacy of masculine redemption.


~~~


I hope the above contextualizes why I like this series so much, why I think it has storytelling worth caring about, and especially why I'm so perennially frustrated that the same kind of thematicism is rarely afforded to the women in the series.
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  #51  
Old 03-15-2019, 04:28 PM
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So it sounds like Nero gets the Apollo Justice treatment.
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  #52  
Old 03-16-2019, 11:35 PM
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That ending was pretty neat, I guess. I wonder if they are going to release a Trish/Lady DLC story, considering the epilogue. Definitely stumbled my way through the final fights because good lord is it complicated and I'm still making mistakes just switching between weapons and styles incorrectly.
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