Vergil explains the
truth to Dante: that the two of them are brothers -- nephilim, born to a demon
father and an angel mother -- and the only ones who can defeat Mundus, the
demon king that killed said mother and banished said father. But that’s not all; Mundus -- while posing as
Lex Luthor a human banker -- is leading a secret operation against the
human race, using Virility to placate them (probably), the media to scare them,
and the power of debt to strangle the president and the world alike. So -- as is the standard -- it’s up to the
rebels to take down the establishment and give the people freedom.
The plan, as such, is a
simple one. Mundus is effectively
immortal and invincible as long as he’s in his ridiculously-ornate HQ, because
it ALSO contains a Hell Gate that feeds him power -- more specifically, it’s in
his office. So going for a direct attack
will do Dante and Vergil no good; they have to lure him out of his HQ so they
can deal the finishing blow. So like
good little rebels, they opt for subterfuge; they’ll target the Virility
factory, Raptor News (a Fox News pastiche spearheaded by fellow demon Bob
Barbas), and hope that it’ll get Mundus riled up enough to make an appearance.
Now, if you’re anything
like me you’re probably wondering “So what, does Mundus never leave his
office? How does he meet people? What happens if he has a meeting abroad, or
just wants to go out and eat dinner?”
But trust me, that’s the least of this story’s problems.
You might want to grab
a snack, guys. (I recommend a nice honey bun.)
WARNING: There are going to be a LOT of
spoilers in this post, likely enough to ruin the entire game for you. If you have any intention of experiencing
this game’s story for yourself with a clear mind and no influence, you should
NOT read this post. You have been
warned.
On a related note, I still miss Old Dante.
(Or: And You Thought the
“Fill Your Dark Soul with Light” Scene was Bad…)
Let’s start by getting
the brontosaurus out of the room.
1) Dante is a bad character.
Well. Here we are.
We were told to
wait. We were told to have faith. We were told to believe. We were told that the final product would
have everything we need. And for a lot
of people -- myself included -- that was enough. It’s one thing to judge based on screenshots
and trailers; it’s something else -- and something far wiser -- to judge once
you have the full story in your hands.
There was plenty of evidence, but in the end it would be up to the full
story to win over fans.
A shame, then, that DmC -- thanks largely to Dante -- has
all the charm of a swamp filled with hippopotamus farts.
Dante does nothing to
prove that he’s anything more than an asshole, confirming gamers’ fears since
the day the first trailer appeared. He’s
aggressive. He’s selfish. He’s callous.
He’s so incredibly smug that even in scenes where he’s ostensibly supposed
to be distraught he’s still got this cocky smirk on his face. The game goes out of its way to remind you
how much of a pissant he is at every turn, having him go “Yeah!” and “Sweet!”
when he does piddling actions. It’s
almost poetic justice in that his voice makes him sound like a loser posing as
a tough guy; not once did I feel like Dante was anything more than an insecure
bully.
“Oh, but he’ll go
through character development to make him less
of an asshole, right?” you ask.
Yeah, that’s what I thought, too.
But really, there’s not much of a difference between start-of-game Dante
and end-of-game Dante; the biggest change is that his alliances sort of shift
from himself to…well, I’ll get to that.
But even if Dante’s character arc was pulled off perfectly (and it
isn’t), there’s an inherent problem with it: it’s kind of stupid. Dante is supposed to be this tough loner who
doesn’t trust anyone but himself.
Sooooo…does that mean that up to this point he’s been completely
alone? Have his interactions with other
people been so fleeting, trivial, and useless that he’s completely written off
the rest of society? Am I the only one
who thinks it’s annoying that the point of Dante’s story arc is to realize
“Golly, I guess people aren’t so bad after all!” with no embellishments or
twists on that hoary old arc?
Furthermore, how are we supposed to believe Dante has learned the merits
of humanity if the only one he consistently interacts with is Kat? Isn’t it kind of insincere to have him learn
the errors of his ways just because he spends a day or two in the company of a
girl wearing hot pants and a low-cut shirt?
There is an attempt at
a story arc here for Dante, but it’s such a bland and token one that there
might as well not be one. And part of
the reason for that is because…
2) Dante doesn’t struggle against anything.
There’s a demon in this
game named Phineas who you meet at about the halfway point of the game. While trying to infiltrate Bob Barbas’ prison
in Limbo’s undertow, he runs into the old demon and retrieves the other half of
his head. (Yeah, demons are weird like
that.) Phineas opts to use his retrieved
eye to help Dante get into Barbas’ prison by twisting the area’s platforms
around -- and more importantly, paves the way for Dante to head to a new area
and get the item that’ll allow him to use his Devil Trigger. I would argue that Phineas is probably the
best character in the game, because he’s got a history and backstory worth
investigating, sheds some light on the conflict between the species, and can
paint the story in more than broad black and white strokes. So of
course, after Dante gets his Devil Trigger and heads off, we never see Phineas again. Smaaaaaaaaaaaaaaart.
I was going to make a
point about how much wasted opportunity there was with Phineas, but if Ninja
Theory can’t be arsed to give him the time of day, I guess I shouldn’t
either. So I’ll switch gears and say
this: pretty much everything Dante’s earned in this game is given to him. The axe, the scythe, the grappling hooks, the
gauntlets, the throwing stars, the shotgun, the…whatever the Kablooey is
supposed to be, and the Devil Trigger are all things given to Dante in
cutscenes. No boss fight. No puzzles solved. No ridiculous sidequests only possible via
walkthroughs. It devalues both the tools
and the game at large, gameplay-wise and story-wise. You would think that Capcom would have
stepped in and suggested as much to Ninja Theory, given that they’ve got a
legacy of games built on the concept of beating bosses to earn strange yet
powerful weapons that allow for even greater stylish-crazy action. You know the series I’m talking about,
right? Of course you do. It’s in the title.
But the bigger issue is
that throughout the entire game, there’s no one out there that can test Dante’s
skills. No one to push him to his
limits. No one to make him question his
motives, his actions, his past, or his resolve.
Even in action games where the hero is supposed to be an unstoppable
badass, there have been times where someone just as badass (maybe more) has been
there to ram a sword through our hero’s gut.
It ups the tension. It evens the
balance of power. It gives the
characters a chance to reflect on what’s gone down, and what will go down. DmC’s level
of tension is far too flat; it needs the spikes provided by true adversaries
and true struggles to justify the story, and by extension the stylish-crazy
action gamers are hungry for. Without
them, it’s just one bland cutscene to the next.
Dante’s struggles are completely impersonal, and the game suffers because
of it. The problems he faces aren’t his
own, but rather those of his new BFF (and undoubtedly more) Kat.
And therein lays another big problem.
3) Kat is a non-character.
If you’re reading this
and you know Ninja Theory’s games intimately, can you help me out with
something? Isn’t this company supposed
to be respected for creating strong female characters? I mean, I haven’t played Heavenly Sword or Enslaved,
but I would have figured that those two games did an admirable job, right? And surely the lessons from those two would
carry over and let DmC be the
strongest game yet, right? Surely it
would avoid the trappings of video game clichés and make its lead heroine more
evolved than circa 1980s Princess Peach, right?
I don’t think there’s a
“nope” big enough to express my point.
For the life of me, I
cannot peg Kat’s personality. I can use
adjectives to describe her, like “determined” or “reliable” or “informative”,
but that’s about it. I can say that she’s
got a dark past, but then again who doesn’t, especially in gritty tales like
this? I can say she’s been scarred and
wounded by said past, but again, who hasn’t been -- especially if you’re a female character in gritty tales like
this? She’s a lot like Ion from Tales of the Abyss: she’s pretty much
just a walking, talking lock pick that we’re supposed to feel sorry for…and of course, someone Dante has to rescue. Also fanservice. The camera goes out of its way to highlight
Kat’s ass in at least one scene.
I’m not wholly
convinced that Kat is even close to being a strong female character. Ignoring the fact that she has no
personality, she doesn’t seem all that competent, independent, or even
intelligent. There’s a sequence where
The Order’s HQ gets stormed by a SWAT team, and Kat is rendered completely
helpless and terrified. Dante ends up
having to save her from Limbo, giving her emotional support and tugging on
glowy bits until the bad men all go away.
Now, I’m not saying that Kat shouldn’t be allowed to show fear and
worry, because that’s NOT what being a strong female character is about. But here’s my issue: why does Dante know
exactly what to do and Kat doesn’t? Kat
has been a member of The Order for who knows how long; wouldn’t she have
contingency plans and defensive measures prepared, or at the very least an
escape route if The Order HQ ever got stormed?
Why is she taking orders from Dante, someone who has ZERO experience
being a rebel? Why is she completely
helpless without his advice? Why is his
advice the right advice, given that he’s shown zero ability to think for
himself or act in a way that would serve anyone but his nephilim-empowered
self?
I think the point where
I had to raise a hand in objection was one of the last cutscenes, though, where
Dante explains that without Kat, their efforts would have failed ten times
over. That’s highly-debatable, of course. Kat’s duties as a lock pick could have been
done by virtually anyone else, considering that A) Vergil showed her how, B)
the spells are done via spray cans, and C) even if Kat is some kind of witch, I
sincerely doubt she’s the only one of her kind.
Dante claims that she “saved” his life, and I’m still baffled as to what
event he’s alluding to (I guess it was the first boss fight when she threw a
Molotov cocktail at the Hunter to make it vulnerable because…because). Dante’s the one who gave The Order a fighting
chance, not Kat.
And the thought that
Kat is supposed to be a key player in the storming of Mundus’ HQ is downright
silly; Mundus isn’t going to be anywhere else but his office because that’s
where the Hell Gate is, which Kat should know already (or alternatively, because
videogames), and I don’t need her laying out a path in a linear action game
like this. More importantly, how does
she know the layout of Mundus’ HQ so well?
How does she know to avoid the 105th floor? How did she get all this information if she
was kidnapped and held hostage? On top
of that, if the narration she gives during that level explaining the plan is
supposed to be a conversation from the past, why does her voice chime in and
tell Dante to go higher from the 105th floor that he’s only on
because he got off at the wrong floor?
How could she have possibly known that he would screw up, and then as
soon as he cleared the floor of demons give him instructions on where to go
next? Why is it that the more I think
about this game, the more I start to completely despise it?
All right, enough of
this. Let’s move on to the next
point. Maybe then I’ll have something
happier to say.
4) Oh, Vergil…
Okay, never mind about
the “something happier” bit.
You know, I don’t mind
Vergil’s redesign. Not as much as
Dante’s at least; I still think there was nothing wrong with the original, but
for what it’s worth looking at Vergil doesn’t make me want to ram a mailbox
into my face. And to my surprise, at the
outset of the game it looks like he’s got everything he needs to be its best
character. He’s motivated, he’s
determined, he’s reasonable, he’s charismatic…I didn’t care if Dante’s bro wouldn’t
get in on the action (despite being a nephilim himself and also entrusted with
weapons from his parents); he had a role to play, and could act accordingly.
A foolish assumption on
my part. To think of Vergil as a bold
and admirable leader of The Order would imply that he actually accomplishes
something. He doesn’t. At least, not on-screen; all his “heroics”
are done off-camera, to the point where I can’t help but wonder just what The Order actually managed to do
before Dante partnered up with them. Vergil
says that they fight a war with intelligence and propaganda, but the player
never gets to see that. Only hear about it. I want to believe that The Order is this big
nasty group of terrorists, but there’s no evidence to believe that they’re anything
beyond a bunch of angry posters on internet forums.
Outside of one news
broadcast at the start of the game, I would never have guessed The Order did
anything to begin with -- and likewise, that there are any other members
besides Kat, Vergil, and a few redshirts to get killed in a cutscene. Part of the problem is what I mentioned before
about the “emptiness”: without a handful of minor characters or even extras to
respond and react to events, the impact gets hamstrung. Another part is that Vergil, as the leader of
The Order, is supposed to lead by example…but he doesn’t. He doesn’t do much of anything besides pull
files from some servers, and do some hacking near the very end of the game. And the last part is one that plagues pretty
much the entire game: the narrative is so far up Dante’s ass that we never get
to see or feel any aspects of world-building, or the consequences of either his
or The Order’s actions. If we could SEE
the consequences, then I guarantee you that I would have a much better opinion
of this game; as-is, it’s as empty as can be.
Oh wait -- I’m supposed
to be talking about Vergil, aren’t I?
Well, it’s not as easy as I would have hoped. Much like Kat (and to a similar extent
Dante), Vergil isn’t as much a character who acts, feels, moves, and responds
as he is a slew of ideas and concepts strung together. Kat doesn’t get any character development
besides falling in love with her savior coming to respect and appreciate
the presence of Dante in her life, and Vergil doesn’t fare much better. You would think that the introduction of a
nephilim brother in Dante’s life would bring more than a “meh” response from
our leading man, but alas; they only have a couple of scenes together to cement
the bond and develop either of their characters, and most of those are crammed
hurriedly near the end. (It’s also worth
noting that when The Order HQ is getting ransacked, Dante keeps saying things
like “I hope Kat is okay” and giving zero fucks about his newfound brother.)
This has the unfortunate
effect of making Vergil’s betrayal come right out of nowhere. Sure, you can see it coming because, you
know, it’s Vergil, but on the other
hand it’s jarring to see the guy who’s been on your side since the beginning
turn on you after one little disagreement.
It’s doubly-jarring when you realize the message left unspoken. That kind, understanding, intelligent guy
who’s trying to help humanity?
Pfft. Total douche; don’t trust
him, because he’s secretly the bad guy.
That selfish, cocky, needlessly-aggressive and self-satisfied asshole
with NO plans on how to help humanity besides “FREEDOM!” and “ANARCHY!” and
“KILL ALL DEMONS!”? THAT’S the guy you
should be rooting for.
It’s almost heartbreaking to think that not
one, not two, but three characters
are this half-baked and unsatisfying.
But here we are. And I’m afraid
it only gets worse from here.
5) The Trade is…wait, what? What
the fuck?
And so we come to this
scene. Oh boy. This scene.
If you’re reading this, and you haven’t read or played any of DmC up to this point, then…well, you’re
in for something very interesting.
Let me start by giving
you a little context. Kat’s been
kidnapped, and The Order HQ is in shambles.
Desperate and on the ropes, Dante and Vergil opt to even the odds; if
Mundus has his hands on Kat, they’ll have to get their hands on Mundus’
mistress, Lilith -- the woman (or demon, presumably) who’s carrying his
child. After storming Lilith’s nightclub
and beating her in a boss fight, Dante takes her hostage and demands a
trade. So they organize the handoff,
and…well, just watch.
Fair warning, though:
don’t watch if you’re the type to get a little…uh…indignant.
All right. Sooooooo…let’s talk about this scene. Because I can think of a number of problems
with it, and not just the obvious one.
But let’s go ahead and
get the obvious one out of the way: why is this even in this game? People in every rung of the gaming industry,
from its corporate bigwigs to the lowly players, have just barely managed to
handle and recover from the sexism issue -- a heated debate that rages to this
day and is constantly re-sparked by industry shenanigans -- and now all of a
sudden you decide to have a pregnant woman taken hostage, have her womb shot to
pieces, and then blast her in the head?
Why? What is the point of this
sequence besides shock value? The
internet is already alight with fury over this scene, and rightfully so.
First off, this scene
completely nukes the characterization of our heroes. Vergil never gives an adequate reason as to
why he did what he did, and neither Dante nor Kat call him out on it to any
extensive degree. Why? Hell if I know, but outside of a bit near the
end when Dante brags about the act to Mundus to make him mad (because Dante),
the act is never discussed. No one pulls
Vergil aside to say “What were you thinking?”
No one suspects that Vergil’s not what he seems. Vergil’s lack of justification only makes his
eventual betrayal of Dante look like something he did on a whim; this could
have been a chance to show that Vergil and Dante’s mindsets were different, and
foreshadow his actions more effectively.
But nope. Nope, nope, nope --
never brought up again.
Second, it completely
changes the tone and context of the story.
You can’t -- you CAN’T have something like this in a game designed to be
a spectacle-driven power fantasy, and DEFINITELY not in a story that switches
off between schoolyard swearing matches and clichés so worn even Michael Bay
would shake his head in disgust. A scene
like this is something you have to talk about.
Something you have to justify.
Something you’d damn well better
handle with some class. You have to
treat it -- the scene, the story, and especially the audience -- with
respect. Throw this in and fail to flesh
out the consequences, and people are going to have plenty of fuel for their
fires.
But Ninja Theory,
Capcom, and all couldn’t be bothered.
Which brings me to my third point: this sequence was not only pointless,
but detrimental in the grand scheme
of things. Remember, the point of the
plan is to bring Mundus out into the open.
To get him away from the Hell Gate.
Stealing his woman and his child, and then killing both of them in one
fell swoop is a surefire way to piss him off, yes…but it’s not enough to get him
away from the Hell Gate. All you did
was make him angry enough to tap the Hell Gate and wreck the city with one
monstrous burst of energy; you’re no closer to killing him than you were at the
start of the game. If anything, you’re
even farther away because he has you in his sights, he’s using the Hell Gate to
wreak havoc on a massive scale, and you now have absolutely zero leverage to
get him out in the open. If you have
Lilith and the child, tweak your demands so that Mundus comes out in the open. If he doesn’t show up, then the plan is a
failure. Don’t murder his family where
he can see you and expect everything to go exactly your way, you dumbasses.
Now, look. You could make the argument that it doesn’t
matter if Lilith and her baby die because they’re demons. They’re villains -- and they did just try and
slaughter Dante not one level ago. We’re
not supposed to feel sympathy for them, because they’re out to wreck and
plunder Earth. (Doubly so because our
heroes are young, svelte, and attractive, while our villains are all crusty,
wrinkly, and awkward looking…though everyone looks kind of nasty thanks to the
Unreal Engine at work, and it’s hard to tell if Lilith is supposed to look like
she has a lion-face on purpose or if it was an accident.)
But here’s the thing:
Dante and Vergil aren’t human either.
The former is a rebel without a cause drinking and demon-slaying his way
through life, while the latter -- as it turns out -- is only trying to unseat
Mundus so he can rule over humanity, preferably with fellow angel-demon hybrid
Dante by his side. (It certainly doesn’t
help that he’s a one-percenter, albeit by virtue of being a self-made genius
millionaire.) We’re not supposed to root
for Mundus and Lilith, but I find it hard to root for Dante and the gang as
well, especially after The Trade. This
is the problem with bad gritty stories: if everyone is supposed to be this
amoral, self-serving sod whose only justification is a rough past or token
attempts to make them look nicer, who are we supposed to root for? In a game designed to let the player be
someone admirable by virtue of their abilities, who ends up being admirable
after carrying out such heinous actions and a general disregard of decency?
Urrrrrrrrrrrrrgh. All right.
That’s enough of that. There has
to be something better I can talk about now, right?
6) Everyone in this game is an idiot.
Why do I even bother?
Remember what I said
about how the more I think about this game, the more I come to despise it? Yeah.
Sleep on DmC for a few days,
and it just starts unraveling at every seam.
So for your consideration -- and enjoyment -- I’m going to do something
I haven’t done in a while…with the proper music, of course.
--If Mundus is immortal
thanks to the Hell Gate, why does he need an heir? He’s going to live forever no matter what, so
wouldn’t introducing a son into the mix just create a power struggle,
especially if said son tries to steal the power of the Hell Gate for himself?
--If Mundus runs the
show in the demon world, and has done so for more than nine thousand years, why
does he need to take over the human world through subterfuge and financial
shenanigans? If he can turn into a
skyscraper-sized lava demon, why didn’t he just do that and send his armies
stomping across every continent?
--So if Mundus can have
any woman he pleases, why would he choose someone as…uniquely-styled as
Lilith? Wouldn’t it make more sense for
him to take reality’s most beautiful woman as his own instead of a lion-faced
woman wearing a wig? Or is that just
what gets him revved up?
--So if Mundus can
apparently sense Dante’s presence and the death of one of his high-ranking
demons, why can’t he sense Vergil’s?
Shouldn’t he have been able to tell that there were two nephilim? Similarly, how did he never figure out that
Sparda, his own brother, had two sons instead of one?
--Why did Mundus have
to send his demons after Dante in the first place? Dante was content with spending his days in a
drunken stupor and killing the occasional demon. Couldn’t he just leave well enough alone?
--What happens if someone walks into Mundus' office and sees that swirling nexus of demonic energy just laying around unprotected? Isn't that the kind of thing the janitor might notice?
--How is it that Mundus
managed to send his demon forces after Dante immediately after his late night
tryst with some strippers with pinpoint accuracy, but never again throughout
the entire game? Again, shouldn’t he
have been able to detect Dante’s presence immediately?
--How is it that in
spite of Mundus using Raptor News and various cameras throughout the city, he’s
never able to figure out where Dante is?
--How does Mundus never
suspect that Vergil is also a nephilim, considering that Vergil reveals
himself, white hair and all? Did he just
think Vergil was a handsome eighty-year-old man?
--Why does Mundus use
the Hell Gate from afar to blast the city and Dante’s crew, but when Dante
walks into his office he tackles him halfway across the city and into a
building miles away from the Hell Gate?
Why did he have to put so much distance between himself and the one thing keeping him alive when all
he wanted to do was try and dig Dante’s heart out of his body? Was that something he really needed to do
atop a distant skyscraper?
--Why is it that Dante
and Kat are able to pretty much walk into an off-limits area of the Virility
factory without so much as a security guard asking them for ID? If every security camera in the city is
monitored by Mundus, wouldn’t that tip him off immediately? If the people in the city are drones that are
unfeeling, unthinking, and act almost-uniformly, wouldn’t that make their
presence stick out even more?
--Why is Dante’s mother
called a whore? Is it because she bore
Sparda’s children? Why does that make
her a whore?
--Why is Kat called a
whore? Is it because she’s an enemy of
Mundus? Is it because she wears short
shorts and a low-cut top? Is it because
she’s a girl? Why would any of those
things make her a whore?
--Now that I think
about it, why does Kat’s backstory have to strongly imply that she was
“attacked” by demons? Isn’t that one of
the most generic backstories given to female characters? Isn’t that something else that you need to
handle with delicacy, and not with the dexterity of a tranquilized octopus?
--Why is Dante
completely undetectable and unnoticed by all, the villains included, in spite
of living in a trailer lodged smack-dab in the middle of an amusement
park? Isn’t that something the police
would want to investigate?
--What does The Order
do besides make veiled threats on TV and the internet? Why are they so fearsome if prior to Dante’s
partnership with them, they’ve accomplished jack-all in Operation Beat Mundus? If nobody is listening to them thanks to
Raptor News and Virility, why does Vergil even bother delivering a message to
the populace telling them to wake up (besides just having something to use in
trailers for the game)?
--Maybe I'm just being naive here, but how is it possible for Vergil's claim that Mundus/Raptor News controls every media outlet, news and entertainment alike? What about the internet? Does that mean that they instantly and immediately control every web show that pops up? Is Fox News secretly slipping subliminal messages into every episode of Game Grumps?
--Why did it take this long for The Order to find
Dante? If they’re so reliant on and
skilled in information gathering, shouldn’t they have been able to find Dante
from the outset? Especially since Vergil
knew about Dante? And he’s the lynchpin
of their plans? And Dante’s done nothing to stay hidden?
--Why does Dante say
that he’ll never forget what Mundus did to his mom after he’s gotten over the bout of amnesia that made him forget
what Mundus did to his mom?
--How did Vergil get
over his amnesia -- i.e. the mind-wipe carried out by Sparda? Did it just wear off? If it was a trip through the family’s
abandoned mansion and acquisition of special weapons that helped Dante recover
his memories, then who restored Vergil’s, and how?
--Why do Dante, Kat,
and Vergil -- in spite of being terrorists pined after by Mundus and his forces
-- walk around in broad daylight even though the bad guys know who they
are? Why does Vergil wear the same getup
as his masked terrorist persona (sans mask) while he’s strutting through the
streets? Why are these people surprised
when Order HQ gets found and ransacked?
--Why is Phineas one of
the only characters in the entire game who wonders about the far-reaching
consequences of The Order’s actions? Why
doesn’t Dante pay any mind to the question of “who will rule after Mundus” until
AFTER Mundus is gone? Why doesn’t Kat
question anything, or bring up the possibility of “what happens next” to
Dante? Are they both so blind to
everything except ruining the demons’ day?
--Why are a soft drink
and news channel the key means to control humanity? Are they supposed to be real-world
parallels? What happens if people don’t
drink Virility, or watch Raptor News? I
don’t drink Coke every day, or even a kind of soda -- so is the key ingredient
of Virility slipped into every drink? If
that’s the case, wouldn’t that mean there are multiple factories and multiple
demons that need to be killed?
--Why does all the
action in this game take place in one city?
How are Mundus’ actions carried out across the world, given that it’s
world domination he’s pining for? Does
Raptor News air worldwide? Are people
watching it? What happens if someone is
an extreme democrat, and can’t be bothered with Bob Barbas’ bullshit? What about the global impact of both Raptor
News and Mundus at large? Even if he’s
“controlling the world through debt”, would anyone approve of him putting up
his video cameras? How is he even
getting up those video cameras? Is it
Barbas’ domain? If that’s the case, then
how is he getting up those
cameras? Are they all controlled by
demons?
--Why is America
treated like the center of the universe in this game? Why is one
city in America treated like the center of the universe in this game?
--Where are the angels
throughout all of this? Supposedly there
was a war between angels and demons, but I would have figured that they hadn’t
been completely wiped out. What’s their
role throughout all of this? What are
they supposed to represent? Does that
mean there’s a god in this universe? If
that’s the case, then where is he during all of this? Why would a god -- and presumably, overseer
of Earth -- let Mundus just go to town?
--If white hair = Devil Trigger/nephilim powers fully awakened in this universe, why is Dante -- someone who's just awoken to the potential inside him -- able to wreck Vergil's shit as a child and as an adult? How could Vergil so consistently be on the losing end?
--Why does Vergil need
to cap off a cutscene by declaring that “his dick is bigger” than Dante’s? Is that supposed to be character
development? Is that just something
brothers are supposed to do?
--How many of these
questions have I asked up to this point?
How many of them have a better answer beyond “because the plot says so”
or “because the developers didn’t think of it”?
7) Limbo is poorly defined, and the game suffers because of it.
I was going to include
this in the Great Wall of Nitpicking, but I figured that I’d take a moment to
probe Limbo a bit more because it’s so important. Now, I don’t mind not knowing where Limbo
came from (partly because I stopped caring about this game long ago), and I can
deal with the chief explanation being “parallel dimension, lol” and moving on
for the sake of expediency. But the
rules of Limbo seem to change from one scene to the next, with no explanation
why. It would be fine if it didn’t
affect the story too deeply…but of course, it ends up making an entire section
of the plot completely unnecessary.
It’s explained in the
first hour or so of the game that actions taken in Limbo have an effect on what
happens in the real world. While Dante’s
in Limbo, he points his guns at Kat, who’s in the real world; she panics,
throws her hands up, and tells him not to shoot, because even though she’s
acting as a medium at the moment Dante’s bullets will still hurt and even kill
her. (It’s worth noting that during this
scene Kat’s standing in the middle of the street and explaining all of this --
loudly -- to Dante, and no one even bothers to glance at her. Also, she makes a Molotov cocktail and throws
it…and nobody notices, I guess.) And
when the first boss attacks a Ferris wheel and sends it rolling, the real world
equivalent goes tearing through the streets.
“Okay, this is interesting,” I thought to myself. “I bet the game’s going to use this
dual-world relationship in some neat ways.”
It didn’t. In fact, the game actually backpedals on how Limbo works, for
reasons that I can only assume start with “because we didn’t” and end with
“think of it.” Kat’s kidnapping is
entirely preventable; if Dante can be a lethal threat to Kat even while he’s in
Limbo, why can’t he be the same for the SWAT team bearing down on her? Sure, you could argue that it’s because Kat’s
acting as a spirit medium and Dante would have shot her astral projection or
soul or whatever, destroying that and not her body. But I just spent a good chunk of that level
pulling out stone blocks and computers and blocking their path; why can’t I do
the same to save Kat when she needs it most?
Why can’t Kat escape into Limbo and stand alongside Vergil? Why does she not have an emergency store of
spray paint or sigils just in case the HQ is under fire? And while we’re on the subject of Vergil, why
is it that the terabytes of information he needs for their “plan” is stored in
Limbo, but the self-destruct sequence can only be activated in the real world? (Also, how long does it take to arm a
self-destruct sequence? The way Kat
acts, it takes about ten minutes…but then again, Vergil says he needs two
minutes to get the data, and it takes him just as long.)
I’m also a little
unclear as to why Dante gets pulled into Limbo when he does. I would have figured that the demons were
behind it, but if that’s the case, why doesn’t his adventure end right
there? Ignoring the fact that he should
IMMEDIATELY be located by Mundus and his forces, bear in mind that Limbo is a
shifting, transforming world that regularly contorts to bring his progress to a
halt. But in the context of the game,
that doesn’t mean anything; rather than making it completely impossible for
Dante to do anything besides stand around and twiddle his thumbs (or use a
little ingenuity to get out of an impossible situation, like a good writer
would have him do), it basically comes down to just finding a glowing
angel/demon wall to smash open, or a glowy bit to grapple. Hell, Lilith even lets Dante get within
spitting distance of her, in spite of her Limbo zone being a club under her
control…this, in spite of her being an expecting mother and he being a
practitioner of demon genocide.
This game sure has a lot of bad decisions in
it.
8) Vergil is the last boss because…because.
This should come as a
surprise to no one. Mundus is a big
crusty bald guy; Vergil is a handsome gentleman sporting a katana at nearly all
times. Now, granted, it would be much
less of a surprise if the revelation of Vergil’s true intention was in any way
paced correctly or properly foreshadowed in the context of conversations and
themes, buuuuuuuuuuuuuut I guess that’s too much to ask. All you need to know is that his name is
Vergil and because of it, he and Dante will go at it somewhere along the line.
So here you go. Have yourself the final mission -- the
cutscene leading up to it, the boss fight, and the ending. Keep it close at hand, though, because we’re
going to talk about it in a minute.
I can’t remember the
last time I had a more disappointing boss fight (and no, Halo 4’s QTE-based finale doesn’t count because that’s obviously not a boss fight). I was on autopilot for most of the fight,
spinning Osiris to deflect the sword shots, slamming with Arbiter, and making
liberal use of the Stinger and Trillion Stab to absolutely decimate
Vergil. And unless you’re an expert at
video games “decimate” is the absolute LAST adjective you want to use when
describing a boss fight with Vergil, let alone a boss fight in general. But I could smack around my fellow nephilim
with ease, with barely a gap in between one cutscene of him getting flung aside
and the next. The only time I had to
reconsider my strategy (and I use that term lightly) is when my brother told me
I had to have my Devil Trigger activated to end the fight -- something the game
neglected to tell me, natch, but luckily I had an item to refill my meter. And after that, all it took was one sword
slash to bring the fight, Vergil’s ambitions, and DmC to an end.
And on that note…
9) Dante is now the protector of mankind. How about NO?
“I thought we were
fighting for freedom.”
Kat…seriously? I mean…fucking seriously? You don’t even know what you’ve been doing
this whole time? Was anyone in The Order
paying attention? Did anyone stop to
think about what would happen once Mundus was gone? What was the point of even introducing Phineas if no one pays attention to his words?
Let’s come at this from
a different angle. Apparently, after
defeating Mundus, Limbo and the real world fuse together; the truth is
revealed, the masquerade is broken, and mankind can not only see the demons
that have existed parallel to their world, but watch in terror as these
creatures start wreaking havoc on an unprecedented scale with no understanding
of what they are, where they came from, or how to stop them. In other words, Dante, Kat, and Vergil have
single-handedly unleashed chaos across the entire world…all in the name of
freedom.
In this case, Vergil
actually has a point in that cutscene.
Humanity might not be as weak or stupid as he suggests (though opinions
may vary), but they need someone to lead them.
Someone to guide them and protect them.
Someone to make sure that society continues unabated -- because if the
trappings of daily life falter, more chaos is bound to follow. And now that demons are running rampant --
and because this city where EVERYTHING apparently takes place is now in ruins
-- mankind leads a leader now more than ever, and someone to instill order.
So of course, Dante tells him off, kicks his ass, declares that he’ll
protect mankind, and lets Vergil saunter off into a warp hole he created
by…uh…because.
Do you see why we might
have a problem here?
Dante has no plan. None.
Nothing. Zero. Say what you will about Vergil, but at least
he had something in mind. At least he
wasn’t about to subjugate and enslave humans like Mundus was; with his
resources and smarts, he could have made a fine leader. But Dante?
What has Dante done in the context of anyone but himself? He hasn’t helped anyone. He hasn’t talked to anyone. He doesn’t know the struggles of anyone. All he can do is faff about and kill
demons. Is he going to do that on a
global scale? No, because he can’t. He’d need something like an organization, or
a police force. Is his demon-slaying
going to ensure that people have food, and shelter, and education, and warmth,
especially with monsters running amok all over the place? No, because again, he’s just one guy --
doubly so because The Order’s no more, and triply-so now that Vergil’s gone and
rage-quit on humanity. Dante has rammed
his sword right up the ass of the human race, and he only did it under the
generic battle cry of “FREEDOM!” And he
only did it because he JUST NOW learned that, hey, maybe other people aren’t so
bad -- a lesson he would have taken ten times longer to learn if his teacher
wasn’t a supple young lady showing off a generous amount of skin.
It’s not only selfish
and stupid of Dante to make this massive change to, but hypocritical too. For all his talk of freedom, Dante sure
hasn’t done much to give the people a choice; he and his clubhouse buddies in The
Order have done all the decision-making, talking, gallivanting, sabotaging, and
murdering without so much as a peep from the people of the city. He’s just as bad as Mundus in a way; he’s not
putting anyone under his heel, sure, but he’s not letting them decide what they
want to do. And he’s just as bad as
Vergil, in a way; Vergil wanted to protect mankind just as eagerly as Dante,
albeit with a different sort of rule set in place. Who is Dante to say that he’ll protect
humanity? How is he going to do it? How will he give them order and peace when
he’s the “speak loudly and slaughter with a big sword” type of character? Furthermore, what happens when the demons
really start running amok? They’ve
proven themselves at least semi-sentient; what about them? What do you do about loyalists to Mundus? Are you going to become the new demon king,
Dante? Are you going to rule over
them? Are you going to separate them, or
have them integrate with society? What
sort of damage will fusing the real world and Limbo do to Earth? What are you going to do if the angels come
knocking on your door? What are you
going to do if the angels are pissed that you’ve wrecked the planet?
But no. No.
No, no, no, no, no. We don’t get
anything. We don’t get closure. We don’t know where Vergil went. We don’t know the full effects of Dante’s
actions. We don’t see the consequences
-- neither the adoration nor resentment of the people. We don’t know what Dante plans to do next, or
what Kat plans to do next, or the people, or the demons, or the angels. No.
You see, our ending focuses not on the world that’s ostensibly wrecked,
but Dante’s sudden identity crisis. “I don’t know what I am anymore,” he
says. And of course, Kat is there to
caress and consul him. And then, it’s on
to the credits. Game over. Congratulations. Thank you for playing. Please purchase the DLC coming soon.
And be sure to remember
what’s really important, kids: FREEDOM!
10) What is this game?
If you watched that
video, played the game, or heard or seen some of the alternate costumes, you
might notice that Dante gets white hair.
And his Devil Trigger temporarily gives him white hair and a red
coat. And even if you don’t get the
costumes, by game’s end (by virtue of Devil Trigger abuse against Vergil),
Dante’s hair turns pure white. And then
there’s this little scene.
A lot of people have
interpreted that scene as a shot at the fans -- a way of saying “Old Dante is
gone, so deal with it.” And like it or
not, that’s a valid interpretation.
Still, it’s just as easy to see it as foreshadowing, saying that before
game’s end Dante will get the white hair we all expect of him. But you know what? I honestly wouldn’t have minded -- and maybe
even preferred it -- if Dante kept the black hair throughout the entire
game. This is supposed to be a
reboot. A fresh start. A chance to free the universe from the canon
and expectations that constrict it. So
the immediate question I have is this: why flip-flop from “no white hair, get
over it” to “oh yeah, sure, he’ll get his white hair”?
Similarly, what was the
point of making the achievements/trophies references to the Devil May Cry games? Why pick and pull quotes from those games and
completely remove their context?
Similarly, why have all the power-ups and upgrades and some of the move
names, but none of the mechanics that made them fantastic while simultaneously
removing plenty more attacks from Dante’s repertoire? Similarly, what’s the point of putting names
on these characters that we’ll recognize, but immediately cry foul of when --
with the memories of said characters fresh in our minds -- we’ll compare and
align with the past versions far more than the new ones? I guess what I’m getting at here is a
single, simple question:
Why call this a Devil May Cry game if the point has been
completely missed?
Nobody asked for this. Nobody clamored for a game with half-assed
themes and a shallow world. Nobody asked
for a colorless story and world that manages to tell maybe three jokes in some nine hours of gameplay, and delivers
absolutely none of the high-octane madness we’d have expected from a game
daring to be “stylish-crazy action.”
Nobody asked for token, bare-bones characters, piddling story arcs, and
an ending that zooms in more on the “hero’s” face than the city he helped
destroy. Nobody asked for sloppier, more
frustrating combat. Nobody asked for
enemies that make you play Simon Says.
Nobody asked for virtually-nonexistent difficulty, with most hits coming
from sneak attacks, an inability to control the crowd, and fired-off shots from
across the screen. Nobody asked for more
platforming. Nobody asked for more
NPC-following. Nobody asked for levels
where you pull on glowy bits. Nobody
asked for an “epic, cinematic experience” with faces fresh out of the worst a
fever dream can produce.
All we wanted was a
game. A game where you get to laugh, and
cheer, and feel like you’ve accomplished something. A game where you’re free to hone and perfect
your skills, and take it to the next level.
A game where you can just sit back, relax, and enjoy the ride -- and
have sweet memories you’ll keep with you for years. DmC
doesn’t have any of that. You know
why? Because it’s not a Devil May Cry game. Not even close. It may try to be like one, and it may try to
act like one, but put the two in a race and DmC
will lag far, far behind, sputtering and choking for air.
But you know what? I’m okay with that. Remember what I said at the start? DmC
is not a game you should get angry about.
It’s not a game you can stay mad at for long. The reason for that is simple: it’s
bland. It’s boring. It’s forgettable. It’s contradictory. It’s full of holes. It’s frustrating. It’s shallow.
It’s ineffective. It’s
clichéd. It’s by-the-numbers. It’s confusing. It’s full of wasted effort. It’s devoid of substance. It’s sillier than the games it cribs off
of. It’s sorely lacking in
self-awareness. It’s quick to squander
its potential. It’s eager to show off
how sloppy it is. It’s juvenile, it’s
narrow-minded, it’s misguided, it’s self-important, it’s heavy-handed, it’s mean-spirited,
and most of all, it’s bad.
And yet, in spite of
all those words and phrases, I feel like I can’t quite define DmC.
Not yet, at least. So I’ll try
something different. See, there’s a school of thought that says you can define something by what it’s not; if
that’s the case, then maybe I’ve got this game pegged.
…Yep, I think I’ve got
it. DmC:
Devil May Cry isn’t just a bad game.
It’s not stylish.
It’s not crazy.
It’s not action.
It’s not worth
remembering.
And in the end, that’s
all there is to it. So thank you, Ninja
Theory. Thank you, Capcom. Thank you, Dante, and Kat, and Vergil, and
Mundus, ad Lilith. I think it’s about
time for me to wrap this up, and give you the sendoff you so deserve. And just so you make sure you get the
message, I’ll say this in terms the lot of you -- and readers alike -- can
understand.
Maybe somewhere out
there, even a devil may cry when he loses a loved one. Don't you think?
A least 28 unexplained details in a nine hour game? Impressive. We truly are in some kind of writing crisis.
ReplyDeleteSome of the scenes shown might have been good if only continuity and universe laws (like Limbo) were maintained through the entire story. Of course all of these were out of context too, so the scenes are only bad because the rest of the game brings it down. Kat being kidnapped might have worked... if there was any buildup to Dante's relationship with her (which you described is nonexistent). Vergil and Dante's fight might have been tense if they were developed and the staked were high (again, they were not). And the game just... ends after that fight? Really? Even Halo 4's boss fight wasn't as anticlimactic. How can there be no epilogue? ... Or is that asking too much for an already crappy story?
I found "The Trade" sequence to be pointlessly shocking, but I had no emotional reaction to it. Many people [not to be singling out, but mainly guys] cried at how indefensibly f'ed up it is, but I remained objective and thought, "What is that trying to add to the plot?" According to this analysis, it's nothing. Maybe it's because I'm so desensitized by pointless torture in our culture and media, but I was not offended in the slightest. Just... intellectually confused. Does that mean I'm mentally insane? 0.o
The only positive out of DmC I can find is that the music is pretty awesome. Still not worth $60. After a few more tries, the demo has not changed my "meh" perspective. This, however, is enough to tell me to watch a walkthrough on Youtube, because at least it takes less time and is free.
Anyway, this was a great, detailed multi-part analysis, sir. Your sanity appears to be in check and that is all that matters now. You need it for... other things.
"How can there be no epilogue? ... Or is that asking too much for an already crappy story?"
ReplyDeleteOh, but there is -- or at least, there might be. In a little while, there's going to be DLC where the player takes control of Vergil. Presumably, THAT'S going to be the epilogue, or at least do some setup for a sequel. Narrative closure? Pshaaaaaaaaaaaaaaaw!
But I hear you on The Trade. It's designed to be this big, shocking moment, but falls completely flat. It feels like the kind of thing that's supposed to piss you off, but it's impossible to get pissed because it's there and gone in an instant with no genuine repercussions. It's pretty much just a Big Lipped Alligator Moment down to the letter -- the type of thing a scene like that should NEVER be.
There's just so much incompetence throughout this game that I'm starting to wonder if Capcom -- Capcom, of all developers! -- would be better off writing the story themselves before passing off the duty to Ninja Theory. Kat is completely undercooked, and her relationship with Dante is token at best; the two of them only have a couple of scenes together to try and "bond", but it's so bland and fleeting that it never amounts to anything substantial, and as a result hurts both their characters. Still, the biggest problem IMO (as you might have guessed) is that this is a story that aspires to be large in scale and intensely personal, but fails triumphantly at both -- the former more than the latter. DMC3 was a significantly simpler story, and as a result kept a tighter -- and personal -- focus, and delivered more of an impact. DmC doesn't. At all.
So yeah, watch on YouTube; don't buy. If the gameplay hasn't won you over yet, it never will -- and the story is something I'd prefer not to speak about if I want to keep my blood pressure down.
Now then, let's see how Metal Gear Rising turns out...
God. Even having not played the game and just seeing a few of the cutscenes I could probably write a damn thesis on how badly "The Trade" was presented and how mangled it made the characters, even in universe without any comparison to their previous incarnations -- although said comparisons just make it even worse, really.
ReplyDeleteEven at the most groundless level of "zomg, Vergil used a gun" there's still issues with just how bad it clashes with the preconceptions about the character that almost every fan of the series is going to have going in. Even the fact that he honestly looked both surprised and a little gleeful that what he did worked, it's all wrong.
Also, considering that both him and Dante in this storyline are people that have had their family taken away from them, it could have worked as both vehement justification and counterargument as well. Vergil could have easily cited revenge for what was done to Eva and Sparda, showing that despite his aloofness that he has some deep seated resentment of Mundus for what he did. Dante could have gone the same root, or he could have noted the utter callousness that Vergil destroyed another family with, even if said family was evil.
I think that in the cutscene where Dante goads Mundus with the death of Mundus' child that he was supposed to come off as conflicted about using such a vulgar method to raise Mundus' hackles. Thanks to the lacklustre acting though it just comes off as the same detached bullshit that Dante always spouts.
It could have, or rather should have, been a point of so much conflict and potential character exploration and growth. Instead, nothing is ever made of it, except that Mundus is now almost justified in wanted to rip Dante's head off. You know a game's story has gone way off the rails when you start feeling sympathy for a character that's supposed to be irredeemably evil.
~I don`t play Dante`s Inferno, but OMG that picture of him smiling made me laugh! Its so creepy... yet funny at the same time... I wonder how that works?
ReplyDelete~Also, you`ve been nominated for the libster award!! ^^ Here`s the link to more details on the award :
http://riverstardust.blogspot.com/2013/01/liebster-award.html
Oh man, don't remind me about the whole "Vergil using guns" thing. That facet alone makes DmC a slap in the face to both the Devil May Cry franchise and its devoted fans. There's re-interpreting a character, and then there's just slapping the name atop a completely different character...which would be all right if Vergil was developed or had a chance to do anything substantial, but alas. It's as if Ninja Theory was so focused on making Dante cool and enjoyable and admirable (or at least trying) that they forgot to make everything else -- Vergil well among them -- memorable, weighty, or even thought-out.
ReplyDeleteI can't say what, exactly, but SOMETHING has gone wrong with Ninja Theory and DmC (the apparent off-hands approach of Alex Garland is probably a key factor). I was willing to let the company and the game surprise me, but...well, here we are. It's just baffling that there could be so many holes and mistakes -- and almost shameful that your alternative sounds much better than an end product with untold millions of dollars thrown at it.
*sigh* Videogames, y u so videogames?
Face-rendering technology is...well, not quite there yet when it comes to video games. It seems like the more companies go for realism and use motion-capturing, the more often the end result ventures into the uncanny valley. DmC got hit hard by this (even when he's supposed to be angry, Vergil still looks like he's smiling), but it's not the first. And I doubt it'll be the last.
ReplyDeleteAs for the Liebster Award...thanks for the nomination, but I already got one of those a while back, and I'd assume that you can only win one at a time. (Should probably get around to displaying that icon one of these days.) But still, thanks for thinking about me and Cross-Up.
At the risk of sounding overly pretentious, I just found out that The Trade video you just posted fits perfectly with Mozart's 40th symphony, from the 3:30 mark onward.
ReplyDeletehttp://www.youtube.com/watch?v=JTc1mDieQI8
Try it out for yourself. Other than that, I like your hate-articles dude.
Honestly? I feel kind of bad about hating DmC. Ninja Theory and Capcom wanted a reboot, and they got it (for better or worse); they tried to inject some new life and new ideas into a series that hadn't been touched in years, so I have to give them applause for at least taking a risk.
ReplyDeleteBut then I remember that the game they put out kind of sucks, and suddenly, I don't feel so bad anymore.
I only hate on games that absolutely deserve it. Halo 4 is one of them, and FF13/13-2 are two others. And now I have to add DmC to that list because their reboot is not only a severe example of "missing the mark", but completely fails at justifying a reboot. And not just because of the gameplay or story; from what I've heard, old versions of Devil May Cry -- the HD edition chief among them -- are selling more than the new game. And DMC4 has sold double what DmC has in the same 1-month time frame (supposedly).
The sheer level of failure here is unreal. It's irritating, but in a few months' time, DmC will be little more than a patchy memory.
On a more positive note, that song really does fit. Makes me wish that was in the actual game somehow...
It was actually a piece written by Mozart that was supposedly inspired by his love for his spouse. It was, in a nutshell, his swan song.
ReplyDeleteI find the idea that this piece fits perfectly with a scene where a pregnant woman witnesses first the death of her unborn and then her own to cosmically ironic.
Oh ho! Interesting...very interesting, indeed. That only makes me wish the song was in the game even more. It'd certainly add a bit of class to the proceedings.
ReplyDelete