Buildings crumble and cave in to reveal demons hiding in wait, and the world itself often seems more out to get Dante than any of its creatures. This design choice extends into the environments, as well, which morph to reveal their “true” forms as Dante approaches them. They’re metaphors for the current twisted state of society. The crazy, gore-heavy boss fights are still there, but demons are more than just executable foes. Instead, it uses their themes as inspiration for its own story, more grounded in anti-consumerism and revolting against right-wing philosophy than in over-the-top spectacles. Aside from one jab at Dante’s original hairstyle, it doesn’t explicitly contrast itself to the original games. If DmC: Devil May Cry really leaned into these superficial elements in the actual game, it would be easy to see why it received such a harsh reaction. Early trailers also made him excessively skinny, as if he had come directly off a three-day amphetamines bender to send demons back to hell. His clothing style was influenced by more modern fashion than the original character, with skinny jeans and a less comical overcoat, and his rebellious attitude was more pronounced. Gone was Dante’s famous white hairdo, replaced with a short, brown crew cut. These problems only made the pill harder to swallow when they saw the radically redesigned look for protagonist Dante. It would release nearly five years after Devil May Cry 4, leaving longtime fans without a continuation of its story and no clear plan for its future. It wasn’t developed by Capcom’s internal team or director Hideaki Itsuno, the latter of whom served only as a supervisor for the project. Fitbit Versa 3ĭmC: Devil May Cry was a tough sell for Ninja Theory and Capcom.
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