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asiplaythem · 7 years

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Devil May Cry: Series Retrospective- "DmC: Devil May Cry"

At long last, I sat down and played DmC: Devil May Cry. Well and truly, the dust has settled, the dead horse has been beaten into compost, and the reactionary rages and defenses have died down. And, for myself, I think my fanboy passion for the series has subsided.

A weak Special Edition, a pachinko machine and a bad MvC model later, I hold out no honest hope for the Devil May Cry franchise now. We’ll always have the Temen-ni-Gru Dante...but we’re not getting back together, lets face it.

So now, when I look at Ninja Theory’s protagonist, who I will still refer to as Donte, the fresh insult that he used to be is now replaced with a genuine, tryhard, grittiness that just seems cute in an “ah, bless” kind of way. He’s no longer the sour white whale that ate my favourite character and franchise, he’s just a little fish who flops around in a harmlessly funny way.

....before the massive flaws of the game come forth.

This review is based on the PS3 launch version and does its best to criticize it on its own merits/failings, not merely on fan insult or in comparison to the previous games. But it is after all called “Devil may Cry”, so its existence as part of a wider franchise isn’t ignored either.

Also, fair warning, this is going to be long as hell. Which is suitable, because it feels like hell sometimes...

Technical Qualities

The engine/optimization is dogshit.

Ninja Theory infamously rejected Capcom’s offer to translate their wunderengine, MT Framework, into English so that they could use it. Instead the team built DmC: Devil May Cry using Unreal Engine 3, which was already starting to look dated by 2010 when the game was announced. For perspective, Unreal Engine 4 was revealed to the public before DmC even came out. The likely reason Ninja Theory chose to stick with Unreal was because of a developer kit popular with young game creators. Unreal 3 was a ubiquitous engine in the last gen of consoles, being the backbone of games like Bioshock: Infinite and the Batman: Arkham series. But you’ll be hard pressed to find any games using it that were as fast paced as the Devil May Cry series.

Off the top of my head, games that use Unreal 3 usually have collision and texture pop-in problems. This is less of an issue in first person or isometric games when player movement and camera angles/viewable space are restrained, but it’s disastrous for something like DmC with its wide angle camera, large open areas, dense enemy count and fast player movement.

On the very first mission, in no more than 2 minutes of having control, Donte got stuck in a wall as I tried to go through the level like a normal player. This was followed by hideous amount of texture pop-in, audio glitches that muted parts of the soundscape, a couple of attacks that didn’t connect with enemies when they should have, and loading times out the arse.

A nasty little secret I only found out from replaying it first hand was that many of the mini-cutscenes (like when Donte looks at the Hunter demon hop around buildings, or does a backflip as he collects his guns) are secretly loading screens, unskippable until the loading operation is completed. All of which are frustrating to have to sit through in such a fast paced game. The way they make such a deal out of the same, generic enemy spawning in by giving it a dramatic close-up every time feels patronizing on repeat fights. “OOOH look! It’s a flying thing again!”. Yeah, no game, these things are easy to kill and I know you’re covering up something with this. Nice try.

Without seeing the development build firsthand, I can’t say for certain why it ran so badly. The release of the Definitive Edition for PS4/XBONE implies that it was a hardware limitation...but....like....that’s what optimization is for; making games run well on older hardware. More on this later, but design choices in level layouts, for instance, can remedy this. You can, for instance, segment levels in a way that stops you from seeing large areas at a single moment, reducing how much the consoles needs to render and thus cutting down load times.

Instead, what we largely got were huge foggy rooms and camera lens flares there to hide unloaded textures. The problem then is that it just, in my opinion at least, doesn’t look very good. Think of how Silent Hill 2 and 3 manage to still look so good due to how they segment rooms with doors you can’t see beyond. Or how the use of fog doesn’t cover up anything that you’re supposed to be looking at. And how they manage to have shorter loading times for it, a whole generation of consoles in the past.

Another trick is to “hard bake” lighting effects into the level’s textures themselves, rather than relying on extra shader operations. It’s more taxing on hardware to emulate, say, the actual light physics of a red spotlight instead of just making the textures of the walls and floor red, using trickery to make it seem like there’s a functioning red light there. Open world games generally don’t have this option, but with Devil May Cry, which is a linear series with rarely changing environments, you can use trickery like this effectively. Instead, DmC has more shaders -many of which look terrible in cutscenes- than it can handle.

Ninja Theory did a bad job of optimizing their game for their primary hardware. Even with the update there were visual problems, audio glitches and collision bugs throughout the entire game. It’s far from unplayable, but it’s ropey for a AAA game.

Level Design

Before I get into the artistic choices, I want to take a moment to look at the more technical, grounded aspects of how Ninja Theory designed levels.

Most of the previous Devil May Cry games are economic with their level design, reusing areas multiple times over with remixed enemy layouts and the occasional change in lighting, music and even textures. This cuts down on development time, saves disc space, and allows the designers to really put care into each individual location. Resident Evil, the Souls games, and Deus Ex: Human Revolution are other good examples.

DmC had potential for this with its “living city” concept. The best use of this concept is with Mission 2: Home Truths, where Donte visits his and Vurgil’s gigantic childhood home. As you backtrack into familiar hallways and foyers, the corruption of Mundus’ influence causes walls to crack open, pathways to change shape and different enemies to spawn. It’s a great (re)use of assets that trip up your expectations as a player the first time around. It also uses some Metroidvania style locked doors and obstacles which you need certain abilities/weapons to traverse. The unfortunate limitation of that is that you can literally fly through some levels and skip entire sections of the game upon a replay; Mission 3 requires you to unlock the Air Dash move in order to clear a gap that appears early on, but you’ll already have it on a replay, turning a 20~ minute level into a 3~ minute one.

Sequence breaking like this doesn’t happen in any huge way though, due to how each level is an entirely separate area of its own. Likewise, most of these ability/weapon barriers lead to optional bonus areas that are slightly off the beaten path.

Linear level design isn’t inherently bad, but in this case I think it was a huge missed opportunity. Not only is there a parallel real world vs Limbo premise that has Donte shift from a greyscale, mundane city into a colourful, chaotic image of itself, that Limbo dimension has the ability to change in real time. If the level designers allowed players to shift from dimension to dimension in-game, a la Soul Reaver, or if they had just played up the “living city” concept in a more interactive way, the city would have been much more interesting and, ironically, feel much more alive than it does. Instead we got a linear, albeit pretty, collection of corridors with very little off the beaten path. DmC incentivizes exploration by hiding collectables, but “exploration” ultimately means turning left where you should turn right to find a Lost Soul behind a bin.

One place where they ALMOST got it right is the first Slurm Virility factory level. After a cutscene showing a mixing room, Donte and Kat break from the tour, slowly jog down some empty, boring hallways in to an equally empty and boring warehouse. Dante can’t attack or jump in this section, and there is absolutely nothing to interact with. It’s an unfortunately uninteresting forced walking section, only one small step above being an unskippable cutscene. Kat then sprays her squirrel jizz magic circle on the ground, Donte enters the Limbo version of the level, the room expands and the crates become platforms, and the level really begins from there. For reasons I never understood, Donte then has to take a huge route up sets of boxes and across dozens of different rooms to circle back on the way he came in. On the way back, he backtracks down the Limbo version of the boring hallways of before, except now they’re slightly less boring, with a few enemies to fight and moving walls and floors. Then you get to the mixing room (which is only shown in a cutscene) for a brawl, before moving on.

The reason this didn’t work as well as it could have are twofold. 1: You only see the real world version of a tiny portion of the level, and 2: said portion is boring as fuck and you don’t interact with it in any meaningful way. But hey, at least the idea was there.

Moments where the living city concept is pushed to the side for more one-off but more effectively done ideas can be found in the upside-down prison, the short prelude to the Bob Barbas fight and Lilith’s rave.

The upside-down prison starts off fairly strong, tapping into one of those childhood ideas we all idly wondered about; what if gravity suddenly shifted? The level starts off strong and has moments throughout that give a trippy sense of vertigo. Mostly this is with car and train bridges, but unfortunately loses the point as it progresses. Because the prison isn’t just upside-down, but is also in Limbo, gravity is already unreliable and the bottomless pit below the floor already looks like the sky. Similarly with the lead up to the boss fight with Poison that has you run “down” a vertical pipe, it all looks floaty and weird by default, making further attempts to be floaty and weird just seem...normal. Likewise, the prison is mostly comprised of bland, urban and industrial textures, completely interchangeable with any old warehouse. You quickly forget that you’re upside-down at all.

The setting also well outstays it’s welcome, taking up 4 entire levels to itself with not enough ideas to justify it. There’s even one moment where, after meeting Fineas, you’re told you need to follow a flock of harpies to find their lair....even though their lair is a completely linear set of halls...That says it all really; there was a fun idea in here, but it was executed without the same creativity.

Following that is the tragically short Bob Barbas prelude. THIS is one of the single most interesting concepts in level design I have ever seen. Seriously. I cannot think of any other game that took news graphics and idents and turned them into platforming sections. Even moments during the fight where Donte is dropped into news chopper footage manage to do something brilliantly original, stylish and funny. But as quickly as it came, it’s gone before you know it. It’s a fucking crime that the previous 4 levels didn’t use the same concept to break up the monotony of their urban corridors. They could have had Donte teleport around chunks of the level using the various TV screens with Bob Barbas propaganda on them, hopping across idents until he got to the other side. Shame.

Next up, almost in a moment of clarity from the designers when they realized that could do digital environments and cheesy tv show graphics in their game more than once, we have Lilith’s nightclub. Again, much more interesting than the living city stuff, albeit a bit harsh on the eyes with its lighting effects. There’s not much to say about it beyond “it looks cool”, but it’s worth mentioning that it feels much more focused and fully utilized than the upside-down prison. All in all. the level design in DmC is at odds with itself, marked by its lost potential. The concepts are interesting, but the execution is almost always lackluster, favouring hand-holdy linear hallways with “cinematic” qualities over more interactive, open spaces with a sense of place. For a game that, pre-release, seemed to want to show us a more fleshed out world than previous games, it winds up as little more than a flat backdrop.

But oh well, DMC is all about the action happening center stage, right?

Combat

Combat in DmC is a mix bag.

The number of different attacks available and Donte’s versatility at chaining moves across 5 different weapons is pretty great. I’m a fan of how you can swap special pause combos across your alternate weapons; two quick hits with Rebellion, a pause, then a final triple smash with Arbiter takes a little extra skill to pull off but rewards you with a faster combo than if you just used Arbiter alone. Likewise, little tweaks like how fast Drive can charge now and how it does actual damage unlike Quick Drive in DMC4, or how you can hold Million Stab for longer, are all mostly fun changes. I tend to have a lot of fun with Osiris and find it to be the most versatile weapon for pulling off different combos. Its ability to charge up the more hits it delivers is a good incentive to hook in as many enemies as possible too, even if it means its uncharged state doesn’t do enough damage. Aquila is a fun supplementary weapon, mostly good for distracting one enemy with the circle attack and pulling the rest into range for Osiris. Eryx, however, is rubbish. Its incredibly short range, long charge times and weak damage output really throw it onto the trash pile when Arbiter is right beside it. Also, personal taste, but it just looks stupid. It’s like a slimy set of Hulk Hands. And they don’t even yell “HULK SMASH” when you attack. Previous DMC gauntlets all include a gap-closing dive attack to put you in enemy range, but the Demon Grapple doesn’t work the large enemies you’ll want to use it against. More on that in a bit.

Guns are mostly pointless. Donte can move laterally so much easier than before that long range combat is redundant. Charge shots with Ebony & Ivory are like Eryx in that they take too long to charge and don’t do enough damage to be worth the wait. Also, because you need to be in a neutral, non-demon non-angel, state to fire them, charging them up while you wail on someone only works if you limit yourself to Rebellion. Switching to Demon or Angel weapons resets the charge and limits you to a grapple move.

Which leads to another problem; 4 of your 5 weapons disable the use of guns. I mean, you’re not missing out on much by the end anyway because the guns are boring and ineffectual to use against all but one enemy (the Harpy), but it feels like a mistake. They literally give you guns in cutscenes as an afterthought. Like when Vurgil goes “oh yeah, have this, it’ll kill the next few enemies really quickly then sit in your back pocket for all eternity thereafter”. Donte never feels like he’s earning these guns like he earns the melee weapons, and they never seem to be worth a damn in gameplay.

The grapples are more useful but, again, having two different types feels redundant in combat. Large enemies can’t be pulled towards you, so why not do what DMC4 did and have one grapple that does both jobs; pull small enemies towards you, pull yourself towards larger enemies? The end result in either scenario is to get in melee range, so it shouldn’t make that much of a difference. Considering Aquila has a special attack to pull enemies in, why not offload those moves to the other weapons too? If you want to keep both pull-in and pull-towards moves in combat, why not give, say, Eryx a special pull-in attack so you can swap back to guns easier?

In short; while the combat is versatile and very satisfying to pull off combos with, large parts of it feel badly thought out. The moves and weapons that end up being useless most of the time have enemies spawn after you unlock them, just as an excuse to show how they work.

The infamous “demon attacks for red enemies, angel attacks for blue enemies” gimmick actually wasn’t as bad as I expected. Until I had to fight a Blood Rage and a Ghost Rage at the same fucking time. I don’t think I need to get into it due to how many other people have complained, but it was just fucking infuriating to say the least.

Okay, so.....Devil May Cry 3 did it better. Most people don’t seem to know this, but DMC3 gave you damage bonuses if you used the right weapon against the right enemies, signified by a subtle particle effect. Nowhere in the enemy or weapon descriptions does it explain this, but if you use your head (or just experiment) you can generally figure it out. Beowulf is a light weapon, Doppelganger is a shadow monster, using light on it does extra elemental damage signified by a flash effect with each hit. Cerberus is an ice weapon, Abysses are liquidy enemies, so using ice on it freezes them, signified by an icicle effect. etc But most importantly; it never STOPS you from using the “wrong” weapon against enemies. I don’t think I need to go into how annoying it is when your combat flow is interrupted by your angel weapon PINGing off a red enemy, but god damn it.

Credit where credit is due; Ninja Theory did emphasize the right part of DMC’s combat when they opted to focus on combos over balance. Both 3 and 4 had broken combos and attacks that skilled players could easily pull off, but they would make combat boring and the games all emphasized an honour system to prevent abuse. If you were good enough to use Pandora to break enemy shields in 4, you were good enough to not abuse it.

Then again, a games combat is only as good as its enemies.

Enemies/Bosses

So it’s a real shame then that enemies and bosses don’t push you hard enough.

The AI is atrocious. NO hack n’ slash should have two hardcore enemies accidentally kill each other without you noticing. The mixing room in the Slurm levels pits you against two Tyrants/the big fat dudes who charge at you. There’s an easy-to-avoid pitfall in the middle of this room. Once, on hard mode no less, they spawned in as usual and one accidentally nudged the other into the pit, insta-killing him while I literally stood still and watched...

Most regular man-sized enemies (Stygians, Death Knights, and their variations) have a common problem of just not attacking first, opting to side step around you forever until you run at them. Luckily there usually is one aggressive enemy mixed in there, like the flying guys with guns or the screamy-chainsaw men, so you’ll be forced to dodge into their range, but it’s embarrassing when they’re isolated. You’re left standing there, charging a finishing attack with Eryx like you have your dick in your hand, and these things are just strafing around you, doing nothing. So you miss with Eryx, step forward, and anti-climatically twat them about with Rebellion just to get it over with.

At first I thought this combat shyness was a design choice, but then it happened with the final boss, revealing it to be a pathfinding bug. But more on that later...

So yes, the red/blue enemy gimmick is bullshit and breaks the flow of a room-sweeping combo you have going, but it actually works really well with the Witch enemy who hangs back, projecting shields onto other enemies while she snipes at you from a distance. She’s annoying to hunt down when you’re dealing with 10 other enemies, so you have to prioritize whether you want to plough through them first or clumsily chase her down first. It’s a nice dynamic to fights, adding that extra layer of strategy to mix things up in a less punishing way.

The main difference with the Witch and the other colour coded enemies is that the Witch gives you options. Blood/Ghost Rages do not, and make fights involving them feel like complete chores. You’ll find the one tactic that works, then rely on it every time.

No, the most egregious enemies were the bosses.

All of them, every single one, was terrible. Not including the Dream Runner mini-bosses, there was a total of 6, less than any of the other DMCs, which makes how sloppily designed they were all the more horrendous. Every single boss is formulaic, partitioned out into “segments” cut up by mini cutscenes that have Donte do something sassy when he works them down enough. But each of those segments tend to have Donte repeat the same, boring, tired tactic until the fight is over. Bob Barbas is the worst example; jump over his beams, use that one Eryx attack to slam into the nonsensical floor buttons, wail on him for a third of his health bar, kill 10 minor enemies in his news world, repeat two more times.

No matter what difficulty you’re on, these bosses never manage to be a challenge due to how placid they are. They will always accommodate their little “formula” you need to solve to beat them.

It’s baffling, because the previously mentioned Dream Runner mini-bosses are great. They’re aggressive, reactive, open to almost any combo you can outwit them with, and don’t force you to repeat the same set of steps in every encounter.

Vurgil on the other hand....

So, here we are, the grand finale. The ultimate evil has revealed itself, and it’s your own brother! You’re clearly a badass because you just took down Satan himself along with his army, so surely the only thing left that could challenge you is your more experienced twin.

Well, he would, if his AI didn’t start the show by consistently suffering from that same pathfinding bug that makes minor enemies interminably strafe around you. So far so good for my first playthrough. So I attack him, maybe hit him 5 times before a min-cutscene rears its head because I’ve suddenly made it into the next stage. Same thing happens once or twice. Then, somehow, Vurgil’s model freezes in the air during one of his attacks. He hangs there indefinitely until I attack him again. Then, at the end of the fight where he’s summoned a clone (because he can do that apparently, not that he’s ever so much as referenced the fact) so his real self can take a knee and heal, I’m supposed to use Devil Trigger to move him out of the way and finish the job (though, I don’t understand why the real Vurgil isn’t also thrown into the air). I do so, but the clone lingers on the ground for a moment, trying to attack me before just zipping into the sky; another bug. I attack the real Vurgil, but nothing happens at first. I keep wailing on him, hoping that one of my attacks will eventually collide and then, -Scene Missing-, the final cutscene of the battle plays.

Do I need to say any more? Do you see what a fucking mess the boss fights are? The final battle for humanity, the emotional crux of the story, the update to the final unsurpassed boss fight of DMC3, reduced to a buggy, embarrassing slap fight that gave me four glitches on my first playthrough.

The whole thing bungled the climax of its story. But, then again, was the story really that sacred to begin with....

Concept and Story

I promise I will not use the word “edgy” here.

Satire and social commentary, no matter how cartoonish, is a weird fit in a Devil May Cry game. DMC2 had an evil businessman too, and 4 ended with you punching the Pope in the face, but neither seemed to say anything substantial against capitalism or religion. They existed in a much more fantastical place, where any sort of commentary was aimed at a more philosophical target. “What makes us human? What makes us into demons? What is hell like? Is family more important than what you feel is right?” The previous games are all centered around a much more personal, individualistic identity crisis, and not any sort of populist, society-wide problems.

DmC brings up surveillance states, the most recent economic crisis and late-capitalism, soft drink addiction/declining nutrition, news manipulation, the prison industrial complex, conspiracy culture, populous revolt, some scant mentions of mental institutions, hacktivism, and the Occupy Movement. These topics, all of which are pretty damn serious and warrant long discussions, are simply decoration for a story about fantasy demons secretly running the world They Live style. Hell, it basically IS They Live, only the aliens are demons and the tools of control are more contemporary. (somehow there’s nothing about the internet in there though...)

All in all, its treatment of modern issues is childishly simple at best and cynical at worst. Sure, the game presents itself as defying capitalism and social engineering via advertising, but it then goes on to launch an ad and hype campaign bigger than any of the previous games, spanning across billboards, phone apps, social media promotion, the usual games media rounds and expensive pre-rendered television commercials. Hell, they even had an ad for their ad! All of this amid a gigantic fan backlash and in-fighting with games journalists on whether people were mad about Donte’s hair colour of if they were just outrightly entitled.

The fact that lead designer and writer Tameem Antoniades responded to this backlash and feedback by tweeking Donte’s design and adding in a random moment were a wig literally drops out of the sky onto Donte’s head for a jab at this “controversy” says something about the intent he had with his story; There is no real political statement behind DmC, it simply pulls from what was in the news at the time, and uses it as fodder for an otherwise archetypal plot.

The problem is that it tries to do this while also talking about hellish demons, heavenly angels and earthly humans. Well, mostly demons, because the angels are absent from the plot and Donte doesn’t seem to have any sort of Angel Trigger, and the only named human character is Kat, who doesn’t have much ploy within the story; she’s there to be rescued, and provide minimal help with a pat on the back from Donte. So demons rule the world, the angels are absent, and the people who suffer are us lowly humans. But it’s a half-demon, half-angel who “saves” us all/reduces the city to rubble, while all us humans can do is post about it on Twitter. Doesn’t sound very empowering to me.

The main villain should say it all. He’s some sort of businessman/oligarch/banker/economist/military commander/mayor/Satan, but he makes the undeniable point that he gave human civilization it’s structure. He has a wife he at least somewhat cares about, and a child he has high hopes for. He (and his wife) shows more emotion than any of our protagonists, and they have more at stake than anyone else, with a genuine vision for the future no less. So, when he very reasonably asks Donte what his goal is, all Donte can say is “freedom” and “revenge”, then continue to childishly taunt him when pressed further. I could go on about how unhealthy the obsession with the post-apocalypse our generation has is, but suffice to say; Donte is not someone to look up to.

Donte himself, and by extent his story, has no real ideological motivation behind him despite being dressed up as an anarchist. His motivations and arch as a character are no less two dimensional than the original Dante, but now manage to be over-stated and hamfisted, with an added veneer of “politics”. Vurgil points how much he’s supposedly changed right before the final boss fight, but how he changes doesn’t include a strong statement of intent. What does Donte want? Fucked if I know! Fucked if he knows.

All of this says nothing about how...well....plain bad the writing is. The dialogue is famously cringeworthy and the plot has more holes than a sponge.

If Mundus was hunting Donte to kill him this whole time, why can’t he find him despite having multiple cameras aimed directly at this house? Why didn’t he just kill him when Donte was in the orphanage run by “demon scum”? Where was Vurgil this whole time? Why does Kat need to hit the Hunter with a molotov? Actually, what the fuck is she doing in the real world while this is happening? Are people just ignoring this pixie girl throwing bottles around a pier? What’s that weird dimension Donte goes into to unlock new powers? If it’s his own head, why are Mundus’ demons in it? And why would it change his weapons? Why doesn’t he have an Angel Trigger? If Vurgil can do all that cool shit he does in his boss fight at the end, including opening a fucking portal to another dimension, why does he need to rely on Kat to hop dimensions earlier on? Or rely on anyone for that matter? Why does he have white hair when he’s born, but Donte has black hair until the end? If Mundus is immortal, why does he need an heir? Why does time randomly slow down after Vurgil shoots Lilith? How did Kat know the layout of so many floors in Mundus’ tower? Surely he didn’t give her a tour of the whole building, right? Did Donte and Vurgil fuck the entire planet by releasing demons into earth and destroying world economics and governments? Or are there pre-existing governments anyway?

Seriously, I could go on forever.

Beyond basic plot, logic and diegetic continuity (the rules of DmC’s world, and how it suspends your disbelief), you get into more subjective questions like “is Donte a likable character?”

I, perhaps surprisingly, think he is. He’s such a tryhard asshole for the majority of his game, never stopping to think about what he’s doing or to engage with the They Live world he lives in that he is, honestly, a bit adorable. He’s not someone I’d ever have the patience to hang out with in real life, but he is at least consistent. He’s a total lughead and he almost blows up the planet, but it makes sense that a nihilistic, “act first, think later” bro would do that.

And I think that sums up his story too; dumber than it thinks, but entertaining all the same. It’s a different kind of dumb than the original games, a kind of dumb that stares at the camera wall-eyed instead of with a sideways wink.

Conclusion

As of writing, I consider Devil May Cry to be dead as a series. With no solid news from Capcom on further projects for 7 years now, DmC: Devil may Cry is the swansong of the entire franchise. Well, beyond shitty cameo costumes in Dead Rising 4, or pachinko machines or whatever.

Likewise, more recent hack n slash series like Bayonetta, Metal Gear Rising and Nier: Automata have risen to challenge Devil May Cry for its crown, and without something better than Ninja Theory’s efforts to stop them, they’ll probably get it.

DmC is not a complete trainwreck. It’s enjoyable, worth the second hand price and 10+ hours of your time. It’s entertaining in a similar way a bad film is; so long as you don’t expect too much from it, you’ll have a laugh. Let go of your bitterness with Ninja Theory and Tameem and you’ll poke fun at it in a less mean-spirited way then your fan rage wants you to. DMC deserved to end on a better note than this, but.....honestly....fuck it. Capcom probably couldn’t make anything much better themselves these days anyway.

Treat DmC like a pug; malformed and lumpy, probably should have been neutered a generation ago, but funny to look at and play with, even though it’s covered in its own slobber.

#dmc #devil may cry #ninja theory #dante

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