How do you bring a franchise back into the public conscious after a decade of hiatus?
That was the question asked to Hideaki Itsuno, in the years following the release of DmC Devil May Cry... after some talking to. For reasons unknown to those outside Capcom, he was actually looking to leave the company following the game's release. I speculate it had to do with DmC resulting in Dragon's Dogma coming out incredibly compromised in a state that made DMC4 look like a feature complete video game. After practically being pleaded with to stay with the company he'd worked with for decades, Itsuno came to the conclusion: He'd stay if he got to make the games he wanted, with Devil May Cry 5 and Dragon's Dogma 2 at the top of that list.
After the reboot failed to meet Capcom's sales expectations multiple times, Capcom probably saw the reboot universe as a lost cause, and weren't exactly up to lose Itsuno after the over decade long revolving doors of some of their most well known staff. Regardless of how anyone feels one way or the other about their work in and outside of Capcom, the departures of notable figureheads like Mikami, Kamiya, Inafune, and later both Niitsuma and Ono, were making the company look like it was bleeding talent. Itsuno's one of the only really recognisable figureheads the company has left from their relatively earlier years, so for the higher-ups to basically have to get down and beg for him to stay is a testiment to the attempt there was to correct their ruined image after the 7th gen hellscape left them with the oft thrown around "Japanese EA" moniker. And through it all, Itsuno and producer Matt Walker were claiming DMC5 would exceed expectations, and that it was the best game Itsuno had ever directed. Huge shoes to fill, when Devil May Cry 3 was arguably still the baseline for any action games to measure up to.
So, how do you exactly bring a franchise like Devil May Cry, left dormant after 2008 barring a notoriously contentious reboot attempt, into the landscape of 2019? Well, you just make it the same as it ever was, add some nice QOL features and stylisation choices that became genre standards in the decade since DMC4 released, and top it off with supped up graphics to flex your insane in-house RE Engine. Itsuno went on record to say that Capcom never even considered a God Of War 2018 style revamping of DMC's gameplay, and thank FUCKING CHRIST. At a time when action games as a genre were mostly MIA in favour of Soulslikes, with the more technical and in depth takes on the traditional action genre only being handled by a company that were on the verge of collapse before the release of Nier Automata, and a few indie devs, the fact Itsuno took a look at GOW abandoning its action game roots and steered in the complete opposite direction, even as journos were kneeling down to suck the game off with slacked jaws, is to be commended in and of itself. A refusal to cave to the current trends of the industry, and to instead go headlong in the direction of your own vision, is something the industry needs more of in this day and age.
All this to say that, at its core, Devil May Cry 5 is exactly what it needed to be from the jump: Devil May Cry 4, with nooks and crannies taken from the best the genre's had to offer over the 11 years prior, and innovations fresh from the minds of Itsuno and his team. Dynamic music, slow-motion cut-ins upon clearing an encounter, the ability to taunt in the air, there were entire things within DMC5's presentation and mechanics that I didn't even know I'd wanted until I got them, and now it's weird to imagine DMC without them. That's the best thing a game like this can do; give me a bunch of shit I never even thought of, and having it all be good. Add on more linear levels that, while contentious still to this day over the lack of item collecting, I think most players would agree are an improvement over the backtracking laden, gimmicky slogs of some of DMC4's missions, and you've got the baseline of what everybody and their mother wanted from a theoretical Devil May Cry 5 for an entire decade... barring the unfortunate removal of some of DMC4's more advanced mechanics, mind. Inertia being stripped in favor of some moves like Rainstorm having way more manual control are okay enough by me, even if I really miss the huge aerial blow-back that Nero's level 3 charge shot gave, but the late removal of reversals due to the play-testers accidentally pulled them off is incredibly dumb. Leave that shit in; low level players won't have to interact with it at all, and it's only a good thing for the high level players who want to use those sorts of mechanics to craft their own playstyle. It is what it is, but man, think of the possibilities...
That's just covering the game's overall quality without even dwelling into the core combat, though. It's when you really get into the details of the game's three base characters that things start to really take shape. Nero's finally had room expanded within his combat system in a way that makes him feel more unique, and all it took to give him more, was to give him less. Some new moves are in his base moveset, Exceed timing is made a little less tight, and there's a new take on the charge shot, but for the most part, Nero's Red Queen moveset is as you remember it from DMC4. It's losing the Devil Bringer that allows him the most interesting changeup to his playstyle, with the new Devil Breaker system making up the bulk of new stuff he has to play around with. You've still got an always accessible grapple for anything you need, but with it comes a brand new selection of robot arms that you can purchase or find scattered throughout stages. Between an electric palm thrust, extra mobility, just straight up replicating the Devil Bringer from DMC4, the Mega Buster and a handful of others, and having both a standard and charged attack designed to destroy the arm, it's fair to say Nero's got plenty more to offer while still feeling distinct enough from Dante... including the lack of being able to swap them on the fly without manually destroying them. Whether by popping their ultimate Breakage ability, detonating them yourself on the fly, or just eating shit from anything hitting you while attacking with them, you've gotta lose your current Devil Breaker in order to change to your next. A mechanic that makes Nero feel unique, sure, but one that makes many players yearn for the idea of the more traditional series staple weapon swapping whenever you'd like. I'd personally have opted to at least have the option of full breaker swapping be a post-game unlock, allowing both sides of the fence to be pleased, but by and large? I love the Devil Breaker system as it is now, a great way to spice up Nero's already fun and unique gameplay.
But what if you want something more experimental from your DMC? Enter, V, the game's new protagonist. A pure human, weak and frail as it gets, V's only means of attacking is via his dinky little cane, some wacky abilities he's found himself with, and three familiar looking demons from years past to dish out the pain before he can swoop in to snatch the kill. In V is a basis for a much simpler character, despite how complicated and unorthodox he may appear at first glance. He's got overtuned style point generation, and doesn't have nearly as much to offer to his moveset as the other two demon hunters do. Simple by design, almost to be the new Nero now that he has more to offer, and I think it's a shame that he doesn't at least have another trio of demons to swap between for more combo potential. Not to say he's devoid of mechanics; you can siphon DT to put demons on auto pilot, chain V's finishing blows together if you're adept with timing and whittling enemies down, and you're incentivized to stay in the action to regain DT via reading a book. Add to it the abilities to quickly withdraw a summon from danger with a dodge, as they're operating on their own health bars, and you've got a really cool base for a character archetype not often seen in games like this. but the biggest thing I think V needed, beyond some better AI for his sole melee option, was more options for fending off on his own, in those moments your familiars are out of the fight. Maybe more focused attacks to sacrifice DT meter for, or a few basic combos with his cane. It works like a charm at making you feel like a character completely out of their element and with no means of defense, but standing around or running away when the going gets tough, assuming you can't spare some DT, is antithetical to the style of these types of games. But within V, I think, is a really interesting and cool template that just needs a bit more work done to make something truly amazing. Were this playstyle to ever return, more options and some more refined AI would be prime changes to make; if anything, I'm shocked Dragon's Dogma 2 isn't seemingly going down that route. But as he is? A good first attempt that needs work. Even the worst Itsuno developed action game characters are better than some developers' bests, though, so let that be something worth noting.
But then, there's Dante. Goddamn. Between the returning on the fly style switching, now all buffed to DMC3 levels and rocking supped up mechanics to make Royal Guard more manageable for new players, to multiple brand new weapons that all feel distinct, and an entirely new mechanic with a new form of Devil Trigger, complete with an original moveset, and even possessing an entirely unique ability being tied to maxing out your Style Rank... any minor complaints I could have feel like I'm bitching about the smallest, most minuscule blemishes on a diamond. DSD's summoned swords moveset alone cement this motherfucker as the peak of action game character gameplay, and I don't think that'll change until DMC6 drops at some time around 2029 or so. Combine it with, for my money, the best enemy lineup since the original 2001 title, and a boss lineup thats insane highs tower far above any of the issues I could have with those few less good bosses, and you've got a video game that's as consistent as consistency. A combat system I'm still ringing dry in my free time, because it's just plain fun.
And how about that soundtrack? DMC5's OST is jam packed with the most tracks of any entry in the franchise, by far. The electrifying battle themes are the obvious mentions, with dynamic shifts in place the harder you style to further bring out each character's different personality in the form of their personal theme. But that's the tip of the iceberg, with almost every boss track being among the most best of the franchise, from the heavy guitars of Elder Night Geryon and Cavaliere Angelo, to the electronic beats of Goliath, King Cerberus and Niddhogg, and the thunderous, leitmotif-laden orchestras that accompany the showdowns with Urizen. Even the often slept on environmental pieces have a few winners, the damn stage start menu tracks are worth listening to, for crying out loud! And so many cutscenes, particularly in the endgame, have their most important, showstopping moments only accentuated by the backing of the game's score. It's something else; a fantastic OST with plenty of variety in its incredibly strong track list.
But the real glue that holds the game together? It's that damn story. Without getting into spoiler territory, DMC5 is a story that feels written to reward those who stuck through thick and thin with the franchise; a massive love letter to the prior titles, with winks and nods to obscure side material like the novels, manga and anime series thrown in. But it isn't just some nostalgia fueled wankfest, it furthers the series' core themes of humanity and family, but also pays off the lesser-focused on theme of legacy in one fell swoop for good measure. It's one of the most heartfelt and sincere narratives I've seen in a game, without ever taking itself too seriously, and pushes the franchise's status quo further in ways that feel like they were genuinely a long time pay off, rather than an incredibly Ill-conceived blindsiding that serves little more than to irreparably damage the canon. The last few missions in particular, that's the kinda shit you only get to see once.
But that's the matter of Devil May Cry 5 as a video game. An incredibly heartfelt masterclass of the medium, developed by a man who finally had the budget to compliment his vision. What it means to me is a lot more personal. To keep it brief, the lead-up to release was one of the worst times of my life. I was basically floating through every day without purpose, and to have the game of my dreams come out and sweep me off my feet... it's not affecting how I genuinely feel about the game, but goddamn it makes that first playthrough hit all the harder in retrospect. It was exactly what I needed, exactly when I needed it, and I think we all have a piece of media like that, at least once in our lives.
As of the day I post this, it's been exactly 5 years since Devil May Cry 5 released. We're halfway to matching the time between 4's release and 5's announcement, baby! Since then, the series has barely seen any content; Switch ports of the first three games, barely any info about the Netflix series, and a dogshit Gacha that might actually be a worse entry to the series than its 2003 sequel. Dragon's Dogma 2 also releases in mere weeks, and it's unknown if there's much more gas in Itsuno's tank after directing such a massive scale RPG that'll doubtlessly be the DMC5 to the original's DMC4. Maybe he'll helm one more entry, or pass the buck off to someone else. Maybe Capcom will just go back to milking Street Fighter, Monster Hunter and Resident Evil, pretending DMC doesn't exist, like they always do! I don't know what the future holds. But I know that Devil May Cry 5 happened, I was there for it, and I'm so goddamn happy I was.
"That day, if our positions were switched... Would our fates be different? Would I have your life, and you mine?"
That was the question asked to Hideaki Itsuno, in the years following the release of DmC Devil May Cry... after some talking to. For reasons unknown to those outside Capcom, he was actually looking to leave the company following the game's release. I speculate it had to do with DmC resulting in Dragon's Dogma coming out incredibly compromised in a state that made DMC4 look like a feature complete video game. After practically being pleaded with to stay with the company he'd worked with for decades, Itsuno came to the conclusion: He'd stay if he got to make the games he wanted, with Devil May Cry 5 and Dragon's Dogma 2 at the top of that list.
After the reboot failed to meet Capcom's sales expectations multiple times, Capcom probably saw the reboot universe as a lost cause, and weren't exactly up to lose Itsuno after the over decade long revolving doors of some of their most well known staff. Regardless of how anyone feels one way or the other about their work in and outside of Capcom, the departures of notable figureheads like Mikami, Kamiya, Inafune, and later both Niitsuma and Ono, were making the company look like it was bleeding talent. Itsuno's one of the only really recognisable figureheads the company has left from their relatively earlier years, so for the higher-ups to basically have to get down and beg for him to stay is a testiment to the attempt there was to correct their ruined image after the 7th gen hellscape left them with the oft thrown around "Japanese EA" moniker. And through it all, Itsuno and producer Matt Walker were claiming DMC5 would exceed expectations, and that it was the best game Itsuno had ever directed. Huge shoes to fill, when Devil May Cry 3 was arguably still the baseline for any action games to measure up to.
So, how do you exactly bring a franchise like Devil May Cry, left dormant after 2008 barring a notoriously contentious reboot attempt, into the landscape of 2019? Well, you just make it the same as it ever was, add some nice QOL features and stylisation choices that became genre standards in the decade since DMC4 released, and top it off with supped up graphics to flex your insane in-house RE Engine. Itsuno went on record to say that Capcom never even considered a God Of War 2018 style revamping of DMC's gameplay, and thank FUCKING CHRIST. At a time when action games as a genre were mostly MIA in favour of Soulslikes, with the more technical and in depth takes on the traditional action genre only being handled by a company that were on the verge of collapse before the release of Nier Automata, and a few indie devs, the fact Itsuno took a look at GOW abandoning its action game roots and steered in the complete opposite direction, even as journos were kneeling down to suck the game off with slacked jaws, is to be commended in and of itself. A refusal to cave to the current trends of the industry, and to instead go headlong in the direction of your own vision, is something the industry needs more of in this day and age.
All this to say that, at its core, Devil May Cry 5 is exactly what it needed to be from the jump: Devil May Cry 4, with nooks and crannies taken from the best the genre's had to offer over the 11 years prior, and innovations fresh from the minds of Itsuno and his team. Dynamic music, slow-motion cut-ins upon clearing an encounter, the ability to taunt in the air, there were entire things within DMC5's presentation and mechanics that I didn't even know I'd wanted until I got them, and now it's weird to imagine DMC without them. That's the best thing a game like this can do; give me a bunch of shit I never even thought of, and having it all be good. Add on more linear levels that, while contentious still to this day over the lack of item collecting, I think most players would agree are an improvement over the backtracking laden, gimmicky slogs of some of DMC4's missions, and you've got the baseline of what everybody and their mother wanted from a theoretical Devil May Cry 5 for an entire decade... barring the unfortunate removal of some of DMC4's more advanced mechanics, mind. Inertia being stripped in favor of some moves like Rainstorm having way more manual control are okay enough by me, even if I really miss the huge aerial blow-back that Nero's level 3 charge shot gave, but the late removal of reversals due to the play-testers accidentally pulled them off is incredibly dumb. Leave that shit in; low level players won't have to interact with it at all, and it's only a good thing for the high level players who want to use those sorts of mechanics to craft their own playstyle. It is what it is, but man, think of the possibilities...
That's just covering the game's overall quality without even dwelling into the core combat, though. It's when you really get into the details of the game's three base characters that things start to really take shape. Nero's finally had room expanded within his combat system in a way that makes him feel more unique, and all it took to give him more, was to give him less. Some new moves are in his base moveset, Exceed timing is made a little less tight, and there's a new take on the charge shot, but for the most part, Nero's Red Queen moveset is as you remember it from DMC4. It's losing the Devil Bringer that allows him the most interesting changeup to his playstyle, with the new Devil Breaker system making up the bulk of new stuff he has to play around with. You've still got an always accessible grapple for anything you need, but with it comes a brand new selection of robot arms that you can purchase or find scattered throughout stages. Between an electric palm thrust, extra mobility, just straight up replicating the Devil Bringer from DMC4, the Mega Buster and a handful of others, and having both a standard and charged attack designed to destroy the arm, it's fair to say Nero's got plenty more to offer while still feeling distinct enough from Dante... including the lack of being able to swap them on the fly without manually destroying them. Whether by popping their ultimate Breakage ability, detonating them yourself on the fly, or just eating shit from anything hitting you while attacking with them, you've gotta lose your current Devil Breaker in order to change to your next. A mechanic that makes Nero feel unique, sure, but one that makes many players yearn for the idea of the more traditional series staple weapon swapping whenever you'd like. I'd personally have opted to at least have the option of full breaker swapping be a post-game unlock, allowing both sides of the fence to be pleased, but by and large? I love the Devil Breaker system as it is now, a great way to spice up Nero's already fun and unique gameplay.
But what if you want something more experimental from your DMC? Enter, V, the game's new protagonist. A pure human, weak and frail as it gets, V's only means of attacking is via his dinky little cane, some wacky abilities he's found himself with, and three familiar looking demons from years past to dish out the pain before he can swoop in to snatch the kill. In V is a basis for a much simpler character, despite how complicated and unorthodox he may appear at first glance. He's got overtuned style point generation, and doesn't have nearly as much to offer to his moveset as the other two demon hunters do. Simple by design, almost to be the new Nero now that he has more to offer, and I think it's a shame that he doesn't at least have another trio of demons to swap between for more combo potential. Not to say he's devoid of mechanics; you can siphon DT to put demons on auto pilot, chain V's finishing blows together if you're adept with timing and whittling enemies down, and you're incentivized to stay in the action to regain DT via reading a book. Add to it the abilities to quickly withdraw a summon from danger with a dodge, as they're operating on their own health bars, and you've got a really cool base for a character archetype not often seen in games like this. but the biggest thing I think V needed, beyond some better AI for his sole melee option, was more options for fending off on his own, in those moments your familiars are out of the fight. Maybe more focused attacks to sacrifice DT meter for, or a few basic combos with his cane. It works like a charm at making you feel like a character completely out of their element and with no means of defense, but standing around or running away when the going gets tough, assuming you can't spare some DT, is antithetical to the style of these types of games. But within V, I think, is a really interesting and cool template that just needs a bit more work done to make something truly amazing. Were this playstyle to ever return, more options and some more refined AI would be prime changes to make; if anything, I'm shocked Dragon's Dogma 2 isn't seemingly going down that route. But as he is? A good first attempt that needs work. Even the worst Itsuno developed action game characters are better than some developers' bests, though, so let that be something worth noting.
But then, there's Dante. Goddamn. Between the returning on the fly style switching, now all buffed to DMC3 levels and rocking supped up mechanics to make Royal Guard more manageable for new players, to multiple brand new weapons that all feel distinct, and an entirely new mechanic with a new form of Devil Trigger, complete with an original moveset, and even possessing an entirely unique ability being tied to maxing out your Style Rank... any minor complaints I could have feel like I'm bitching about the smallest, most minuscule blemishes on a diamond. DSD's summoned swords moveset alone cement this motherfucker as the peak of action game character gameplay, and I don't think that'll change until DMC6 drops at some time around 2029 or so. Combine it with, for my money, the best enemy lineup since the original 2001 title, and a boss lineup thats insane highs tower far above any of the issues I could have with those few less good bosses, and you've got a video game that's as consistent as consistency. A combat system I'm still ringing dry in my free time, because it's just plain fun.
And how about that soundtrack? DMC5's OST is jam packed with the most tracks of any entry in the franchise, by far. The electrifying battle themes are the obvious mentions, with dynamic shifts in place the harder you style to further bring out each character's different personality in the form of their personal theme. But that's the tip of the iceberg, with almost every boss track being among the most best of the franchise, from the heavy guitars of Elder Night Geryon and Cavaliere Angelo, to the electronic beats of Goliath, King Cerberus and Niddhogg, and the thunderous, leitmotif-laden orchestras that accompany the showdowns with Urizen. Even the often slept on environmental pieces have a few winners, the damn stage start menu tracks are worth listening to, for crying out loud! And so many cutscenes, particularly in the endgame, have their most important, showstopping moments only accentuated by the backing of the game's score. It's something else; a fantastic OST with plenty of variety in its incredibly strong track list.
But the real glue that holds the game together? It's that damn story. Without getting into spoiler territory, DMC5 is a story that feels written to reward those who stuck through thick and thin with the franchise; a massive love letter to the prior titles, with winks and nods to obscure side material like the novels, manga and anime series thrown in. But it isn't just some nostalgia fueled wankfest, it furthers the series' core themes of humanity and family, but also pays off the lesser-focused on theme of legacy in one fell swoop for good measure. It's one of the most heartfelt and sincere narratives I've seen in a game, without ever taking itself too seriously, and pushes the franchise's status quo further in ways that feel like they were genuinely a long time pay off, rather than an incredibly Ill-conceived blindsiding that serves little more than to irreparably damage the canon. The last few missions in particular, that's the kinda shit you only get to see once.
But that's the matter of Devil May Cry 5 as a video game. An incredibly heartfelt masterclass of the medium, developed by a man who finally had the budget to compliment his vision. What it means to me is a lot more personal. To keep it brief, the lead-up to release was one of the worst times of my life. I was basically floating through every day without purpose, and to have the game of my dreams come out and sweep me off my feet... it's not affecting how I genuinely feel about the game, but goddamn it makes that first playthrough hit all the harder in retrospect. It was exactly what I needed, exactly when I needed it, and I think we all have a piece of media like that, at least once in our lives.
As of the day I post this, it's been exactly 5 years since Devil May Cry 5 released. We're halfway to matching the time between 4's release and 5's announcement, baby! Since then, the series has barely seen any content; Switch ports of the first three games, barely any info about the Netflix series, and a dogshit Gacha that might actually be a worse entry to the series than its 2003 sequel. Dragon's Dogma 2 also releases in mere weeks, and it's unknown if there's much more gas in Itsuno's tank after directing such a massive scale RPG that'll doubtlessly be the DMC5 to the original's DMC4. Maybe he'll helm one more entry, or pass the buck off to someone else. Maybe Capcom will just go back to milking Street Fighter, Monster Hunter and Resident Evil, pretending DMC doesn't exist, like they always do! I don't know what the future holds. But I know that Devil May Cry 5 happened, I was there for it, and I'm so goddamn happy I was.
"That day, if our positions were switched... Would our fates be different? Would I have your life, and you mine?"