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Devil May Cry


I purchased Devil May Cry before I even had a Playstation 2. I immediately became interested upon hearing it was a third-person action game. My interest intensified after hearing people complain that it was too difficult. After playing and loving one tough third-person action game (MDK 2 on the Dreamcast), I was ready for another. I figured I would be getting a Playstation 2 soon anyway, so I made the purchase. In the meantime, I downloaded some preview videos and eagerly watched the Dante, the trenchcoat-clad half human/half demon protagonist, stylishly slash and shoot his way through groups of enemies. When I finally got to experience Devil May Cry, it was everything I had anticipated.

Originally slated as a Resident Evil title, the gameplay was continuously tweaked until it was no longer representative of a survival horror title. The tank-like controls were ousted in favor of full analog movement, unlimited ammunition was provided, and the pacing was sped up dramatically. These changes allowed for more emphasis on combat, the area where Devil May Cry truly excels.

Combat involves both melee and projectile attacks, perfectly balanced as to complement each other; there is much to be gained by alternating rapidly between melee and projectile attacks. For instance, you can engage a group of enemies with your sword, then let loose with a blast from a powerful firearm to scatter them before you get overwhelmed. Alternating attacks is not only functional, it's very stylish. There's nothing cooler than to launch an enemy into the air with a sword combo, keep it aloft with a volley of gunfire, then deliver a fatal blow from your blade as it falls to the ground. Devil May Cry allows one blend defense and offence together, and counterattack as well. For instance, you can simply jump out of the way, or (depending on your equipment) you can execute a homing charge at the peak of the jump that will damage the enemy that just missed you.

Not only is there balance between attacks, weapon balance is also retained within each type of attack. This renders all the main weapons useful throughout the game. For example, Dante starts out with two handguns, which fire rapidly but are weak. Even after he finds the more powerful shotgun and grenade launcher, there are still situations in which the handguns will perform optimally. Likewise for the melee weapons (Alistor, a lightning elemental sword and Ifrit, fire elemental gauntlets), there is a best tool for the job. With six* possible combinations of weapons, there is always another strategy available when the going gets tough. Changing weapons still not enough? Pull the Devil Trigger!

Dante is able to transform into a demon in an instant, enhancing his strength and allowing him to perform more potent moves. These special moves depend on the equipped melee weapon, with Alistor providing such abilities as raining down lightning bolts or charging the enemy (a la Street Fighter's M. Bison), and Ifrit allowing Dante to shoot fireballs or erupt in a burst of conflagration. Remaining in demon form drains the Devil Gauge, which can then be refilled by damaging or taunting enemies.

A particularly excellent aspect of combat is the responsive play control. Not only does Dante do what you want, but he can also be stopped by canceling moves. The ability to cancel out of moves is vital in a game such as this. In many action games, starting a move will commit the character to it, resulting in frustration as the character becomes a sitting duck. The controls are also very fluid. Once they are mastered, transitioning between moves is very intuitive and seamless. Devil May Cry allows the player to reflexively react to things as they happen, which is exhilarating.

Although reflexes are important, knowledge of enemy behavior is necessary to be successful in Devil May Cry, especially during boss battles. During the course of the game, you'll fight such bosses as the Dark Knight Nelo Angelo, and the bane of your (and your Father's) existence, Mundus. Obtaining a victory over bosses is a gradual process. You'll likely get slaughtered the first time you meet up with a boss, but with repeated attempts you'll learn their attacks and notice weak spots, and ultimately emerge victorious. You'll fight each boss two or three different times (maybe more if you look in the right place…), and with each successive fight, the boss will have learned some nasty new trick that will give some variation (and added challenge) to the previous battles against that particular boss.

Devil May Cry won't win any Academy Awards for its cinematics, but they are entertaining nonetheless. It is during these cutscenes Dante's half-demon personality shines through, his dry wit, fearlessness and confidence-cockiness even-constantly flow forth. His human side makes its presence known too, however, as even Dante loses his cool from time to time.

While the characters are appealing, the story is wrought with videogame clichés. A son taking on his father's former nemesis, familial relations coming to light, betrayal, newly revealed inner strength, and vindication are all themes in Devil May Cry. But just because they've been done before doesn't mean that there aren't any engaging sequences. While Nelo Angelo is giving Dante a good thrashing, he suddenly notices something that causes him to draw back in fear. After Nelo flees, Dante begins to wonder, perhaps realize, what happened. In another scene, Dante becomes tired of Mundus' prattling and viciously orders him to be silent. Scenes like this, where the player can piece things together or smile in anticipation of a brutal fight, are plentiful enough for an action game. If for nothing else, the cutscenes serve to give the game some character.

For all of Devil May Cry's highlights, the game is not without flaw. The camera angles are static, and when the view changes, it can be disorienting. One's first intuition is to push the analog stick in the direction suited to the camera view, and this sometimes results in rapidly going back and forth between two angles. Fortunately, this rarely hinders combat; it's mostly noticeable when maneuvering in smaller spaces. At least enemy attacks from offscreen are not a problem, as Dante can still target and attack enemies that are not in view. In addition, enemies make telltale sounds before they attack, so seeing the enemy is not a requisite for avoiding attacks.

Devil May Cry is not a particularly long game; most players will finish their first run through in 8-12 hours of game time, with subsequent plays becoming increasingly shorter. However, after only one playthrough, players will not have acquired all the special skills, seen all the enemy patterns, or perfected their combat technique. In subsequent plays, players can purchase the abilities they deem most important, become competent fighting bosses (and other enemies), use less consumable items, and become more fluid with the controls. With so much to master, Devil May Cry actually gets better each time you play it.

Finally, Devil May Cry's graphics and sound help create an incredibly cool atmosphere. The game has a dark, gothic look that really pops thanks to excellent textures and lighting effects. During the slower parts of the game, soft background sounds and gentle music waft through your speakers. However, combat scenes are accentuated by hard-rocking guitar music that not only pumps you up, but really suits Dante's personality.

Overall, Devil May Cry embodies everything that an action game should be. It is a succinct and straightforward game that looks good and plays better. The smooth, responsive controls are a pleasure to use, and beg for mastery; it simply feels good to play. Finally, and most important, it provides a challenge to the player, and forces him or her to work for victory. With all that going for it, Devil May Cry is a strong contender for the best next-generation action game around.

*If you count the Nightmare Beta gun and the Sparda Sword there are more, but I never found any situation where either of those significantly outperformed the main weapons, so I rarely used them.

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