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Devil May Cry 5: PULL MY DEVIL TRIGGER

YOULL ALL SEE Foolishness Dante Foolishness Flock off Featherface NOW IM MOTIVATED

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#1 Ocelot

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Posted 27 November 2017 - 03:48 AM

Alright, you gorgeous SSLFers, you. Devil May Cry 5 is, of course, the game that each and every one of us here is most excited about, and that we all dream of every night and spend our days pining over. When will Vergil return to us, we ask ourselves. When will the Big Daddy of action games make his triumphant return to the scene?

 

Well, hold onto your butts with both hands, because this might just be the big one. A big ol' leaked document has popped up on Resetera, aka New NeoGAF, which I will dump here in its entirety for your viewing pleasure:


RELEASE DATE AND PRODUCTION 
 
- The game is slated to release some time in the fiscal calendar year of 2019. That means sometime between April 2018 and March 2019. Original plan was to release it in November 2018 but the date MIGHT have been pushed back to early 2019. 
- Originally DMCV was intended to be announced at PSX but after receiving feedback on their E3 press conference, Sony decided to scale back on PSX and instead scale up E3 2018. DMCV was an unfortunate casualty of this choice and thus it’s unlikely that DMCV gets officially revealed in 2017. 
- There will be a demo for the game sometime before release. 
- Game has been in development for 2 years as of today. When it will release it will have been in development for 3 years at least. That is actually the highest time a DMC game has been in full production for. Pre-production started as early as 2015 around the time that DMC4SE finished releasing. There have been no development hiccups and as stated, the development has in fact been progressing smoothly. 
- There is some form of Playstation exclusivity involved. Sony is paying for some of the funding for the game but the extent of it is not known. Could be completely PS4 exclusive, console exclusive or timed exclusive. If the game is announced publicly then it will be at a Sony event, which is why many people thought that it was going to be at PSX. 
 
- Trailer has been ready for a while now. The initial trailer is 1 minute 50 seconds long (they may add new cuts to trailer to make an extended version since some time has passed from when it was made). It is mostly focused on story, characters and cutscenes. A city like setting is shown in the trailer not that different from Fortuna city in DMC4. 
- The overall game is supposed to be “ambitious” for a DMC title with a broader appeal. 
- Longest cutscene runtime of any DMC game yet. 
 
DEVELOPMENT TEAM
 
- Itsuno’s team that worked on previous DMC games and Dragon’s Dogma is working on DMCV. 
- Yuji Shimomura is returning as the cutscene director for DMCV. He worked on DMC3, DMC4 and Bayonetta cutscenes. 
- Reuben Langdon is reprising his role as Dante. 
- Johnny Young Bosch is reprising his role as Nero. 
- Dan Southworth is reprising his role as Vergil. 
- No word on the actresses who played Trish and Lady if they will be returning, 
- Onyay Pheori is helping with the soundtrack (she did the song for DMC4SE’s launch trailer).
 
CHARACTERS AND STORY (POTENTIALLY BIG SPOILERS!)
 
- DMCV picks up the story after DMC4. 
- More than one playable character in the game, Dante is for sure playable and Nero is possibly playable as well. Up to 3 playable characters have been suggested for now. 
- This is the most serious Dante has been (a "new side" of Dante), of course not counting DMC2. Dante still plays with his enemies and has his usual over the top flair but this game is going to be more personal for him. 
- A third character is expected to be playable as well. Said to be “very powerful.” May or may not be brand new to the series. 
- No word on whether Vergil is playable or not, he will be returning although specifics on how he is returning from his death in DMC1 are unknown. 
- Trish has a prominent role to play in DMCV but no word on whether she is playable or not. 
- There will be a sequence where Nero and Vergil have a confrontation, confirming their relationship (Nero is in fact Vergil’s son as stated in the DMC3142 artbook). 
- Characters switch during key story points in the game. 
- The “Prince of Darkness” is featured as the main antagonist of the story. (Prince of Darkness title normally refers to Mundus so it might indicate his return but that title may have transferred to another character)
- DMCV might be the end of the “sons of Sparda” storyline. 
 
GAME PLAY/SYSTEMS 
 
- Hard lock on is standard. 
- Console is targeted for 60 frames per second like the previous DMC games. 
- Level design is more open than previous DMC games but not going into Souls or open world territory of level design. Movement outside of combat has been streamlined to match the open nature of the game. The structure is more open to make the experience more "smooth." Immersion is important to the team with this game.
- Level design and exploration is more similar to Bayonetta with action set pieces thrown in there but without the QTEs. QTEs in general do not exist in DMCV thus far. 
- There is NO Stamina bar. 
- This is not a Musou game but there will be encounters where you are facing more enemies than you are used to in a DMC game.
- There is some online integration but definitely no multiplayer PvP. 
- Dodge system is reworked and dodging in general is supposed to be a lot smoother than before (get ready to hear the word “smooth” a lot when related to DMCV). 
- Camera pulls back during big fights. The devs are really proud of the new, more dynamic camera system.
- Animations are being improved to be less stiff. Big emphasis on cloth physics (maybe Dante’s sword might not clip through his jacket now!). Battles are beautifully animated and smooth. 
- Mission and Ranking system similar to previous DMC games and Bayonetta. There will definitely be mission/chapter selects. 
- Bosses being ramped up dramatically in DMCV. One of the boss fights moves between multiple areas of the game. 
- Style system is in for Dante - Enemies will react a bit differently to each style.
- Style system has been streamlined to be smoother to use for the players (speculated that the style system might be tuned/reworked to make it easier to get into than in DMC4).
- Certain styles will have advantages on certain enemies similar to DmC/DMC3 (you can use a single style on any enemy just fine). 
- More environment interactivity than any previous DMC game. This is supposed to compliment the combat system, not detract from it. 
- There is some form of dynamic environment destruction/transformation in play but not on the scale of DmC thus far. 
- While this is not an open world game, some inspirations have been taken from Dragon’s Dogma. 

 

Take it with a grain of salt, as with all internet rumours about video games, but maybe also believe in it with all your heart because it sounds so good. Itsuno! Vergil! The proper voice actors! Prince of Darkness! A trailer ready to go!
 
It basically sounds like my dream come true, with the possible exception of another Fortune-style city as the setting instead of a spooky castle/tower like DMC1 and 3, but whatevs I can deal with that. I've been waiting for a proper Dante/Vergil DMC game for almost THIRTEEN YEARS now. DMC3 came out in 2005, and as we all know it is the greatest video game ever made and has yet to be equaled. DMC4 is an excellent action game in kind of a frustrating, incomplete shell, a victim of Capcom's transition to HD development. DmC is a perfectly competent action game (assuming you get the Definitive Edition), but it just isn't that Devil May Cry goodness. But Devil May Cry 5? Fuggedaboudit. It's going to be 400% PURF, and you all know it, and if you say it won't be you're just lying to yourselves.
 
In conclusion, do you remember what we used to say?
 
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#2 Maverick-Werewolf

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Posted 27 November 2017 - 09:31 AM

I... didn't actually think they'd do something that sounds so right.

 

Admittedly, this... this makes my heart hurt for Resident Evil, because I'm such a RE fangirl... and RE got such bad treatment... I love DMC, obviously, and this is insanely exciting, but it makes me really sad for RE's sake. :(

 

why are you so cruel capcom


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#3 Ocelot

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Posted 27 November 2017 - 10:08 PM

DMC has already had mooooore than its fair share of Capcpom cruelty:

 

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It's high time for some good news after these long years. These long, long years. SO MANY YEARS.

 

DEVIL MAY CRY FIIIIIIVE!

 

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EDIT - CONTINUE HOLDING YOUR BUTTS, because the original leaker has updated the leak!

 

A LITTLE UPDATE
 
- PlayStation 4 first, PC later. (highly unlikely to be on any other platform)
- Unreal Engine 4

 

On the one hand, it'd be a shame to see DMC go back to being console-exclusive after 4, DmC and the HD Collection were all multiplatform. I want to see the glory that is DMC5 reach as many people as possible, and even if the sales would probably have been Playstation-slanted anyway, I'm sure it would have sold enough on Xbox to at least make it worthwhile. But, then, Capcom isn't the company they once were, and it's perfectly believable that this game wouldn't exist at all without Sony helping to fund it. If it's a choice between a fully-featured but exclusive DMC5 and a multiplatform but somehow compromised (or, y'know, non-existent) DMC5... well, let's just say I'm glad I bought the right console :P
 
EDIT - Alright, you guys, get hype, because now Hideaki Itsuno himself is... potentially teasing?
 
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A target with five dots, and he's holding two Blue-Rose-esque revolver's in a 'V' shape... DMCV CONFIRMED EVERYONE GET HYYYYYPE!


#4 Ocelot

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Posted 02 December 2017 - 01:34 AM

So, if it wasn't obvious, I've been deep in the throes of hype this past week or so, and I decided to play a little bit of some Devil May Cry to soothe the burn. And, just for funsies, I started with DmC Devil May Cry: Definitive Edition. Oh boy.
 
Alright, let's get the obvious out of the way: it's a travesty. It is, potentially, Capcom's biggest Capcpom ever. Giving Devil May Cry, the most exquisite, technically-brilliant, deepest, most challenging, most Japanese action series ever created... to Ninja Theory. I mean, I think Ninja Theory is a pretty cool developer, when they play to their strengths. They're weird and creative, and their games are nothing if not memorable. But their action pedigree to that point had been Heavenly Sword, a game that ran at like 20FPS and felt like it had a full second of input lag, and Enslaved, an action game where the Triangle button only ever did one move for the entire game. The original release of DmC back in 2013 missed the mark by such a wide margin: 30FPS, no lock-on, enemies that could only be harmed by one weapon-type, a completely broken style meter, terrible bosses, sloooow gameplay, no taunting. Boy oh boy oh boy.
 
But let's not get too negative, because we're talking about the Definitive Edition here. Two years after the original release, Capcom got one of their internal teams, QLOC, to work on a re-released version for current-gen consoles, with a list of changes so extensive they actually put out a PDF listing them all. 60FPS, lock-on, a 20% speed increase, new difficulty modes, too many balance changes to mention; suddenly the game was looking like a big boy action game. And it is; it's probably the best action game ever made by a Western developer. It plays well, and it has some really cool new mechanics that I'd be happy to see make their way into DMC5. Is it fit to be a DMC game? Well, no, but it's better than DMC2, at least.
 
If you can make it past the extremely off-putting... y'know, entire design aesthetic of the game, there are actually some great moments in DmC. There's one mission where you have to kidnap the bad guy's disgusting girlfriend, which starts off in a nightclub and quickly turns into a bizarre neon-lit reality TV show set nightmare, where you run around on these swirling laser-beam paths through the sky. Ninja Theory did not take half-measures with the game's colour palette, and while sometimes it's incredibly ugly, other times it hits really nicely. Ninja Theory's re-imagining of the DMC universe comes with a Heaven, a Hell and Limbo, an alternate world that you get shunted into against your will throughout the game, where the laws of gravity and physics fall apart and the levels themselves will warp and twist and break apart as you try and run through them. For the most part this means a lot of you jumping, double jumping and air-boosting between floating platforms, which isn't especially exciting, but you also have these abilities that let you pull yourself toward a thing or pull a thing toward yourself, and when those start getting pulled into the platforming it's pretty fun. It's a nice change from the standard Devil May Cry approach to level design, which is more or less just 'fight guys and then run to the other side of the room'.
 
Unfortunately, it's when you get into the actual Devil May Cry-ing that the game loses its lustre. The jury-rigged lock-on function they added into the Definitive Edition is... functional, I guess, but it doesn't really work all that well. You can still whiff away at empty air next to your target even while locked on, and it's very difficult to lock on to the right guy in a group of bad guys. The game has this unusual control choice where you have to hold a trigger to use your secondary weapons, rather than switching between them with a single press, and my fingers find it very confusing to be holding R1 to lock on, then hold R2 or L2 to use other weapons. There are some interesting enemy types, some not so great ones, and a pretty annoying tendency to throw bad guys at you in waves that are interrupted by a cutscene of Dante turning to look at the new guys loading in (couldn't they just spawn in during the fight like always? Why you gotta break my flow, bruh?).
 
And double unfortunately, there are only five bosses in the whole game, all of them except Vergil are terrible. They're all the giant face archetype: a big dude/monster that stands in one place and swipes at you while you hack away at it for ten minutes, and they're just tedious. They only ever have two or three attacks that are all perfectly easy to dodge, and because they're big and immobile the best option is just to use the heavy weapons and bam bam bam away with your most damaging combo until they die. Vergil's fight is the only fun one-on-one encounter, and even then it's ruined by like six mid-fight cutscenes breaking the flow constantly. It's a real shame, because these mechanics could have supported a bunch of great bossfights, but Ninja Theory just didn't make them. This is DMC, baby; bossfights are supposed to be the highlights.
 
The original Devils May Cry were perfect examples of one of my favourite video game tropes: Americans as written by Japanese people. Same thing I loved Resident Evil and Metal Gear Solid; the Japanese game designers of the late 90s/early 2000s just had such a wonderful idea of what it meant to be an American, all brashness and bluster, loud and gregarious. DmC, by comparison, is what a bunch of dorky English theatre kids think it means to be American; Dante is just kind of a jerk, constantly being petty and rude to people for no real reason. Classic Dante might hurl some cheeky insults around, but only ever at the big bad guys who deserved a good dressing down. DmC Dante, by comparison, slaps Coke cans out of the hands of random pedestrians, and interrupts the poor, put-upon female character to tell her he doesn't care about her clever plan. Ninja Theory were too busy making every character punk and edgy to make any of them actually likable; Vergil even wears a fedora in the original release (hilariously, they edited out the fedora in the re-release :P).
 
The game ends with you taking down Mundus (in what is probably the easiest bossfight in the whole game), after which Vergil suddenly drops the bomb that, "Oh, btw, now we're going to subjugate humanity lol". It's one of the most jarring, whiplash-inducing plot twists, somehow both predictable (because they took it straight from DMC3) and out of nowhere (because they executed it so poorly). You fight Vergil, Dante squeezes the under-written female character's bum unbidden just so we know he's still a jerk, and then the game goes into a credits sequence that perfectly encapsulates the difference between Classic DMC and Ninja Theory DMC:
 
DMC4 ends with our ol' pal Dante walking off camera and giving us a cheerful wave goodbye. See you next time, buddy; it's been a fun ride:
 
EnpBDTZ.gif
 
DmC Devil May Cry ends with Dante's voice actor saying "My name... is Dante" into the camera, then rolling away on a skateboard and flipping the bird:
 
LTOqg73.gif
 
I don't know if they did this on purpose, but it's just the most perfectly on-brand thing for the game. "Our Dante? He wouldn't just walk away, he'd... he'd be on a skateboard! Because he's so cool and aloof and he doesn't care about society's rules, maaaan. And also he'd be giving the finger! Because he's so punk and anti-authority! MAAAAAAN!"
 
Oh boy.
 
I also played the Vergil's Downfall DLC, where you play as Vergil after the events of the main game. It's your standard cheapo post-game DLC, made of re-used assets from the main production and with some ugly motion comic cutscenes to save costs. It's nothing to write home about, except that it botches the Vergil bossfight for a second time. The one in the main game is ruined by the interrupting cutscenes, whereas the one in the DLC (Vergil against Shadow Vergil) is ruined by these newly-added phases where bad guy Vergil teleports out of the arena and spends like a minute sending very-easily-dodged Summoned Swords at you. It's just a total waste of time.
 
But, oh well, that was DmC. I still think the Definitive Edition is a perfectly competent action game, if you can suffer through the awful cutscenes and don't mind disappointing bossfights. But I'll be happy to move on to replaying the real Devil May Cry games, thank you very much. I started up DMC4 SE last night, doing a standard Nero/Dante playthrough (in Nero's cool purple coat alternate outfit), and this is my jam, baby. 


#5 Ocelot

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Posted 05 December 2017 - 04:31 AM

Alright, you guys, let me tell you about a little game called Devil May Cry 4. First things first: it's awesome, and I'm going to talk about just how awesome it is a bit later, but for right now, allow me to paint you a word picture of the state of the world in the mid-to-late 2000s, vis a vis the Devil May Cry series. DMC fans (including a handsome young high school student in Australia) were still riding the high that the 2005 release of the undisputed greatest video game of all time, Devil May Cry 3, had brought them. A followup came the very next year in the form of Devil May Cry 3: Special Edition, which somehow took perfection and made it even more perfecterer, by adding a playable Vergil and a couple of new bossfights into DMC3. Come 2007ish, with the turn of the console generation, Devil May Cry 4 was on the horizon, and... well, to be honest, I wasn't super hyped.

 

I adored DMC3, but when the first Famitsu scans of DMC4 leaked out, showing an entirely new protagonist named Nero, with no hint of our lord and saviour Vergil in sight, Young Ocelot was unimpressed. My hopes dropped further when the trailers started rolling out, showing a pretty melodramatic-looking anime story where Nero seemed to spend the whole game shouting his love interest's name ('Kyrie' is probably said more than any other word in this game's script, btw :P). They'd recast Vergil's voice actor as a different character, Dante was wearing this weird getup that involved leather chaps and cowboy-boot-styled leg warmers; it just wasn't what I'd expected, and this was the part of my life when I was growing into a real... ugh, just a real jabroni. So disagreeable, so ready to write something off without giving it a chance just because some small thing had rubbed me the wrong way. Not one of the better phases of Ocelot's life.

 

When DMC4 actually came out, these issues would prove to be a drop in the bucket compared to the game's biggest shortcoming, which is that it's half a game. It's still one of the best-known examples of Japanese developers struggling to come to terms with the realities of HD game development in the early days, how inefficient procedures and pipelines that worked in the SD era became huge problems in the new generation. On top of that, they were using a relatively new engine (MT Framework), the PS3 was notoriously hard to code for, Capcom's bigwigs decided halfway through development that they were going to do an Xbox 360 version as well; it was kind of a recipe for disaster. The way that troubled development manifests in the game itself is that you proceed as you'd expect from Mission 1 to Mission 11, but then once you hit Mission 12 the objective of the game becomes "OK, now turn around and do it again in reverse". You just run backwards through all the same levels all over again, fight all the same bosses, repeat more or less the whole game, before finally finding some new content again at about Mission 19. Hideaki Itsuno's team clearly ran out of time and money at some point and just had to do the best they could, getting maximum mileage out of the limited assets they'd been able to put together.

 

It's a testament to just how good the basic gameplay is, then, that DMC4 is still a great game even with all those caveats. In some less cruel alternate universe there's a fully complete version of DMC4, with a longer campaign, some more unique bosses, more weapons (and maybe a cheeky little visit from Big Daddy Vergil), but the DMC4 we actually got in this dismal reality is still an awesome experience. Compared to some other famously troubled games (*cough*MGSV*cough*), it comes out way ahead. Devil May Cry 4 has nothing less than the best video game combat system crafted (coded) by human hands, and that buh-rilliant gameplay combined with some great bossfights and really creative weapons and mechanics takes it a long way.

 

In fact, looking back on this game with the hindsight granted by almost ten years of pure misery for the Devil May Cry fandom, it's hard to remember what all the fuss was about. While teenage Ocelot couldn't get past this whiny brat Nero taking Vergil's place, Adult Ocelot loves the guy! Nero is so much fun to play as! He has this sword with a jet engine inside it, and he can rev the hilt of it like a motorbike's throttle to blast flames out the back of the blade to hit guys with it even harder. He has this gross demon arm that he can use to yank enemies towards him, which opens up the whole combat system in really interesting ways, and the demon arm also gives him the ability to perform sick finisher animations like this work of art right here:

 

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Nero was the developers' way of lowering the skill floor of the game again, giving newcomers a simpler character to play with to learn the mechanics of Devil May Cry-ing, but there's still amazing depth to Nero's fighting style. You can mash the L2 button to stand in place and rev your sword, but the meter you fill will be expended on your next attack. Instead, the trick is that you can instantly rev the sword to a full bar of charge by hitting L2 at the end of an attack. With the right timing, you can do this for each and every attack in Nero's arsenal, allowing you to send your damage output through the roof. It's a purely optional mechanic, but one that can make you feel so awesome with a bit of practice, and I love it so much. When you combine fully-revved sword slashes, charged bullets from your comically-oversized revolver, and a Devil Trigger that looks like a Stand from JoJo's Bizarre Adventure backing up all your attacks, Nero gets so overpowered he's almost broken, and it feels incredible.

 

And, of course, it wouldn't be a DMC4 post without the gif:

 

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By the time you reach the halfway mark of the game, the designers know you're ready to take on the big man himself, our ol' pal Dante. First you have to fight him one-on-one to prove your worth, which is one of the best moments in video game history (even if the actual fight is kind of unbalanced), and then you get to play as him. DMC4 Dante is much the same as his DMC3 incarnation, except that the four combat Styles that you had to choose between at the start of each mission in that game can now be swapped on-the-fly with the D-pad, suddenly quadrupling Dante's moveset. Dante is insane in this game. There are people who've been playing DMC4 since release who still wouldn't claim to have mastered everything he can do. With four characters' worth of moves at your fingertips, and a new lineup of weapons to play around with, the possibilities are all but endless. The ridiculous frame-perfect tech stuff that those crazy Youtube people can do with him just blows my mind:

 

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There's also the matter of Dante's role in the story, which is totally absurd and amazing. DMC4 is set after DMC1, where Dante fought and killed the Prince of Hell, so the dude is basically the most powerful being in the universe at this point in the timeline, and it shows. While the events of DMC4 might be life-changing for young Nero, Dante treats the whole thing like a fun adventure on a Sunday morning, just trying to have as much fun as he can. He could more or less solve the problem straight away with both hands tied behind his back, but that wouldn't be any fun, right? Even when he's involved in a one-on-one fight he's still just playing around; this is a guy who'll occasionally eat a head-on attack on purpose just to show off:

 

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So DMC4 might be half a game, but it does at least have two incredibly deep combat systems for you to spend hours upon hours playing around with and mastering, and if you buy the Special Edition you get three new characters added in! Greatest video game character of all time Vergil returns, alongside series mainstays Lady and Trish, who've been around for a while but never been playable before. Trish has an interesting combat style that changes completely depending on whether you're currently holding your sword or whether you've thrown it out to take care of some enemies on its own, and Lady focuses entirely on projectile weapons with no melee attacks at all. And Vergil is, well...

 

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Also, just quickly, it's a remarkably good-looking game. I'm playing the Special Edition, which is remastered in 1080p for PS4, but even the original release at 720p and 60FPS on the PS3 looked great. In fact, I'd go so far as to say that DMC4, a 60FPS game released in 2008, is better looking than DmC, a 30FPS game released in 2013 on the same consoles. DMC4 has that clean, Japanese game aesthetic that just holds up really well.

 

So what I'm saying here is that DMC4 comes with some caveats, but it's still super awesome and you should play it. The real Devil May Cry has been absent from the world stage for so long that it almost feels like a product from a bygone era. I mean, I have proselytized about my love for Platinum's action games many a time on this forum, but nothing P* has made even comes close to the exquisite technical ecstasy that is DMC4. This is a game that won't be mastered until humanity has evolved another finger or two and developed some kind of cybernetic deep learning brain implant or something. But it's also fun for regular schmoes to play, which, as a first class schmoe myself, I definitely appreciate.

 

Join us next time on the Devil May Cry Appreciation Power Hour, as my reverse-order playthrough of the DMC series brings us to the absolute, undisputed, hottest, most fire, fite me irl if u disagree, our-father-who-art-in-Heaven, Vergil-be-thy-name, GREATEST VIDEO GAME EVER MADE: Devil May Cry 3.



#6 Ocelot

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Posted 27 December 2017 - 09:55 PM

As part of Capcom's plan to announce every possible Devil May Cry game but DMCV, we now have news of a China-exclusive mobile game using the DMC licence: Devil May Cry: Pinnacle of Combat

 

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It's going to be a looooong six months until E3.

 

(btw, you might have guessed that I abandoned my DMC series playthrough after the news that Capcom was HD-ing the HD Collection for PS4, so I'll pick it back up when that comes out and tell you all how much I love DMC3 for the seventieth time.)



#7 Ocelot

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Posted 02 January 2018 - 12:50 AM

Alright, kiddoes, it's time for the first DMC update of 2018, the year that will go down in history as humanity's first brush with the eternal shining glory that was Devil May Cry V. It's a Tweet from his majesty Hideaki Itsuno:

 

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Now, as we know from the big ol' leaked document, DMCV was originally scheduled to be revealed at PSX 2017, but was pushed back so Sony could bolster their E3 lineup for 2018. This is the year, baby. THE PROJECT IS NOW UNDER CLIMAX! Bayonetta crossover confirmed I mean get hype!



#8 Ocelot

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Posted 13 January 2018 - 08:05 PM

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PLEASE EXPECT!

 

Look at all those people busy making Devil May Cry V the best game ever made. This is gonna be goooooood.



#9 Saber-Scorpion

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Posted 13 January 2018 - 08:29 PM

At first I was surprised you got a Twitter embed to work on my crappy old forum software, but then I realized it was a screenshot. :lol:

 

Did you see where Hideki Kamiya speculated on Twitter about how the next DMC could be more of a realistic cinematic action game, rather than an anime-style hack-n-slash, referencing God of War? And then some game journos ran headlines like "Hideki Kamiya wants DMC to be more like God of War" and he flipped out at them... using his usual colorful language. That guy is a riot on the Tweeter, lol.


-Scorp


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#10 Ocelot

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Posted 13 January 2018 - 09:27 PM

Hah, yeah, I love that guy. One of the best things I ever read from him was back when he was being interviewed about Okami:

 

I think the whole focus-group thing is not the way to make a game, because you start to bring in other people's opinions and lose some of the originality. For Viewtiful Joe, we brought in some kids to a focus test and asked them, "What do you think of the characters?" And all the kids said, "Oh, his head's too big," or "Silvia's annoying, I just want to kill her." They were just trashing the game, so I just got pissed off and said I'm not changing anything.

 

He's one of my favourite video game directors, but in this case I have to disagree with him, because oh man I just want a proper DEVIL MAY CRY. I'm starving. I'm dying of thirst in a desert of no Devil May Cries. I mean, if we'd actually been getting regular Devil May Cries every couple of years then it might be time to revitalise the series, but I've been waiting TEN YEARS since DMC4. Just let me have this, man. Just let me have this.
 
That said, I definitely wouldn't object to a little bit more of a cinematic presentation for DMCV. I've got no probs with some jazzed up camerawork and better character models. A bit of influence from Ninja Theory's reboot in the style department wouldn't go astray at all, and I'm not going to lose sleep if they want to try some more open level design and break from the mission-based structure. There are a lot of ways you could modernise Devil May Cry without robbing it of its identity. Just as long as it's still the best action game in the business when the combat breaks out.


#11 Ocelot

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Posted 01 February 2018 - 05:22 AM

Those of you keeping score at home might have noticed that today marks the ten year anniversary of Devil May Cry 4's release on the Playstation 3 and Xbox 360. Ten years since this game that, I can't deny, I was pretty petulantly upset about at the time, but have since learnt to love. Ten. Years.

 

Ten years since a Devil May Cry came out. Here's to hoping it won't be eleven.



#12 Ocelot

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Posted 26 February 2018 - 12:35 AM

So with any potential Devil May Cry V news likely to be months away at best, I thought I'd retrofit this thread as an all-purpose platform from which to shout into the abyss about my personal favourite genre of video games: the hardcore stylish action game. Or the character action game. Or the hack & slash. I don't really know what the official nomenclature is; you'd think we'd have come up with something everyone could agree on by now. I'm talking about the kind of game where you clobber enemies with weapons, but specifically the Japanese ones that are really mechanically complex and reward you for learning all the ins and outs, and usually rank you on how cool you looked when you were fighting the guys. Those ones. Are we on the same page? Hah, who am I kidding, nobody's actually reading this.

 

OK, so I've already talked about some highs (DMC4) and lows (DmC) of the genre, so let's branch out into the middle and discuss The Wonderful 101:

 

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The Wonderful 101 is a unique video game, to say the least. For Hideki Kamiya's sixth time in the director's chair, he decided to make something that has elements of all his previous games, melded together into a nigh-indescribable mishmash of gameplay styles and genres. At its most basic, W101 is... probably a character action game, but replace the single character you're picturing in your mind with a Pikmin-like crowd of a hundred tiny heroes. You play from an isometric perspective, and your most basic abilities are to scurry about as a group and mash a button that will have your team of heroes dart forward and encircle an enemy in a Looney-Tunes-style cloud of scuffling fists and feet. However, the meat of the game is in the Unite Morphs, which are when your tiny heroes join together, wrist-to-ankle like a bunch of cheerleaders forming a human pyramid, to turn themselves into giant fists, swords, guns and all manner of other weaponry that the team leader can swing around to beat up enemies.

 

Now, in most character action games with multiple weapons, you'll hit a button to switch from one weapon to another. This works quickly in a pinch, but it does impose a limit on how many weapons you can carry at once; Devil May Cry 4 has you cycle between three weapons with one button, and I honestly think that's pretty awkward. The Wonderful 101, on the other hand, has more like a dozen Unite Morphs you can pull out at any given moment, and it does this by having you draw the weapon you want to summon in a mechanic pinched straight from Kamiya's own game Okami. You can literally trace a shape on the screen of the Wii U's Gamepad, but given that this can be an extremely fast-paced action game you're better off using the right analogue stick to draw with what the game calls the Wonder Liner. The first one you're introduced to is Unite Fist, which is as simple as drawing a circle: just roll the right stick around once and, bing bang boom, you've got a giant fist to punch guys with. Next you get Unite Sword: just draw a straight line. The bigger you draw the shape, the larger the Unite Morph will be and the more damage it'll do, but your Unite Morphs draw from a finite pool of energy so there's a certain element of strategy in deciding how big a weapon you actually need.

 

Drawing an 'L' shape makes a gun, a squiggly line makes a whip, a line with a circle at the end is a giant hammer with rockets on it, and so on. The great thing about this mechanic is that almost everything in the game involves drawing in some way. Much like the way Nintendo likes to come up with a central mechanic for a game and then tie it into every aspect of gameplay, The Wonderful 101 has you using the Wonder Liner constantly to save people in distress (draw a line around'em), revitalise withered old gardens (draw a line around'em), find secrets (draw a line into suspicious crevices or open doors), and all manner of other things I'm forgetting right now. While it can initially feel like a pretty obtuse game mechanic to pick up, it's used so often that you'll either pick it up or... well, quit the game and never touch it again.

 

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So, here's the thing about The Wonderful 101: it was a huge bomb. I think it sold something like 60,000 copies worldwide. Being a non-Nintendo-first-party exclusive for the Wii U certainly didn't help, but there's more to it than that. W101 is a difficult game to pick up and takes a certain level of dedication to play well. The game's own tutorial is pretty poor, and most people point to Youtube video tutorials like this one made by a guy who worked on the official Bayonetta guide as a much better way of learning what's going on. And even when you do get the hang of the fighting, The Wonderful 101 is a game that tries to pack in as many genres as it possibly can, so you're never far from the game throwing an entirely new gameplay style or control scheme at you and expecting you to pick it up very quickly. Do you like Space Harrier? Because Hideki Kamiya does, and he's going to make sure you have to play it in every single one of his games (btw, we're going to be talking about Hideki Kamiya a lot in this thread) :P

 

I just finished replaying W101 all the way through on Hard mode, after not having touched the game in a couple of years, and it's not something I'd recommend doing. In classic Kamiya style, Hard mode doesn't just buff the enemies' health and damage output, but it also remixes enemy placement so you'll fight end-game enemies much earlier on and lots of scary guys in more dangerous combinations. You'll also take a lot more damage when you do get hit, because the game assumes you've just finished Normal difficulty and you're ready to go. Once I'd got back into the swing of things I enjoyed it quite a lot, but unfortunately the non-combat elements of the game also scale up in difficulty, and they made me hate life. The Wonderful 101 has this weird checkpoint system where death is meaningless for anything but your final score, because you'll just wake up right where you fell without so much as resetting the enemies' health bars, so it isn't difficult to beat, but some parts are very difficult to enjoy. So many bad shooting sections, so many 'dodge all these things' sections where you can't really get a feel for where things are because the camera angle is all weird, two Punch-Out!! homages that are really complex and would be a lot of fun if you knew the ins and outs of them but will probably just leave you frustrated when you fail your way through them without really knowing what you're doing.

 

At a good 20+ hours for your first playthrough, The Wonderful 101 is probably the longest character action game there is, at least for one without any kind of RPG mechanics or anything. It's twenty solid hours of unique content, no grinding or level repetition or anything. It is long. And I wouldn't say it's paced well, either; some missions just go on FOREVER, with like five bossfights and an interminable isometric shooter section that you'll just hate. To be honest, there are some parts of this game that make me wonder if they were ever play-tested, and some that make me wonder if anyone ever played them at all. I adore this game, but some parts of it are straight up unforgivable terrible. They're real bad.

 

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I think Nintendo would be crazy to port this game to the Switch, given that it sold so badly, but I would love it if they did. The Wonderful 101 struggles badly on the Wii U hardware, with a framerate that aims for 60 but feels like it probably hits 40 at best and, like... five at worst? There's one attack that the final boss does that genuinely makes the game play at like one tenth of its normal speed; you have to run around the arena foraging for pockets of good framerate. The extra power of the Switch could at least help out with those. But when I ask myself if I'd like to see any changes made to the Wii U version for a potential port, even knowing how much a hated some of this game, I just can't abide it. The Wonderful 101, flaws and all, is a masterpiece.

 

So here's the thing about The Wonderful 101: in the first level you fight a giant robot. He's so big that your entire team of 100 people can fit on his wrist, and he chases you through the first five chapters of the game. That's some pretty impressive scale, right? NO, forget that rubbish. By Chapter 8 of this game an entire city turns into a robot, and all your guys jump inside it to fight an even bigger robot. Pretty impressive, right? NO. In Chapter 9, every individual member of your hundred-strong team captures and pilots a robot the size of that one in the first Chapter, and you use them to fight a robot that is ONE THIRD THE SIZE OF THE ENTIRE EARTH. I'm going to spoil this whole thing for you, because you're probably never going to play this game and it's the greatest thing ever:

 

 

At the end of an epic multi-stage bossfight, both you and the boss get into a giant gun-charging contest that lasts like two straight minutes, both sides charging their most powerful attack to the most insane and feverish of pitches, and then you're hit with the single greatest QTE prompt of all time:

 

PROTECT EARTH

 

And you hammer that button FOREVER as your team of intrepid heroes fights back the giant laser of a super-advanced, universe-destroying alien race that hits so hard it pushes you back almost all the way from the stratosphere to the surface of the planet, until finally you gain the upper hand and obliterate that jerk in the most cathartic ending to a video game ever created. And The Wonderful 101 just won't be that orgasmic explosion of pure joy if you haven't battled your way through the whole thing, warts and all. You need those lows so you can appreciate the highs that much more.

 

The Wonderful 101 is one of my favourite games, if you hadn't guessed. It's one I'd honestly struggle to recommend to most people, but if it hits you it's gonna hit hard. I'd love it if this game got a chance to reach a wider audience on the Switch, even if I think it'd still probably bomb :P

 

Join us next time as we discuss a little game called Bayonetta...



#13 Ocelot

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Posted 01 March 2018 - 05:37 AM

Alright, boys, let's talk about BAY. OH. NETTA!
 
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Hideki Kamiya's fifth game, released in 2009, is about a witch named Bayonetta who uses magic to psychically lengthen, shorten and otherwise control her own hair, to the extent that she chooses to go into battle butt nekkid but for a stylish catsuit woven from her own raven locks. She holds a retinue of gigantic demons in her thrall, and can open portals to the demon world where they dwell to call on their assistance, punctuating her own combo strings with attacks from their enormous fists and feet. She is also the most over-the-top, ridiculously brazen exhibitionist, constantly flaunting her hilariously extreme sexuality in your face, posing and dancing for the camera and generally living life as if she's the Queen of the Catwalk. To Bayonetta, the world is full of naughty boys, and what do naughty boys need but a good spanking?
 
After creating this sub-genre back in 2001 with Devil May Cry, Bayonetta marks Kamiya's return to the genre to show all the Johnny-come-latelies how it's done. It doesn't have the sheer technical brilliance of DMC4, nor the white-knuckle difficulty of Ninja Gaiden Black, but it does have an incredible combat system and a huge number of wonderfully creative new mechanics that let it carve out its own niche. Bayonetta builds off the basic control scheme of the original Devil May Cry, meaning you've still got your launchers, Stingers, High Times and Helm Breakers, and you can still knock an enemy into the air and make them float by shooting them (the true mark of a Kamiya game), but it adds a bunch of what we cool pro video game guys call dial-a-combos. One button does punches, one button does kicks, and hammering them in whichever order you like will serve up a ready-made combo to go.
 
What sets Bayonetta apart from other dial-a-combo games like, say, God of War, though, is Wicked Weaves, which are the big ol' fists and feet that come slamming out of portals. These occur almost exclusively at the ends of combo strings, and they do enormous damage and throw enemies around like ragdolls, so they're an in-built incentive to learn a few favourite combo strings and try your best to get the whole thing out in the heat of combat, rather than just mindlessly hammering away at the buttons at random. You want to clobber angels with a punch the size of a city bus, don't you? Sure you do, don't lie to me. 
 
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And herein lies the cleverest of all Bayonetta's new mechanics: Dodge Offset. Imagine you want to hammer out a combo that goes Punch, Kick, Punch, or PKP for short. What happens if you get P and K out, but then you see an enemy attack incoming and you have to dodge? You lose your place in the combo and have to start again from the first P, right? That's how every other game works. Well, NOT BAYONETTA, MY MAN! In Bayonetta, you can save your place in a combo while dodging if you hold the last button you pressed. So, for example, you hit P and you punch, then you hit K for the kick, but you're a savvy gamer and you know the enemy is probably going to attack you, so you hold that Kick button down. Now, when that enemy attack comes, you keep holding Kick and you dodge the attack, and once you've finished the dodge you let go of Kick, hit that final Punch, and, bam, you come out with that final hard-hitting attack in the combo like a huge badass.
 
It's hard to get your brain around this technique to begin with, because it takes a certain level of foresight and you absolutely cannot button mash, but once you've got it down Bayonetta changes into a whole different game. No longer are you at the mercy of aggressive enemies; the tables have turned, and now your only obstacle to mastering this game is your own pathetic reflexes and skills. Combat turns into something of a dance, where you weave in between enemy attacks concentrating on getting your own combos out. And the cool thing is that you can Offset a combo with more than just a Dodge; there's Crown Within Offset (turn into a crow between attacks), Panther Within Offset (run around as a sweet panther between attacks), and even Taunt Offset, where you can literally stand their and dance while holding onto your last attack. You can even dodge after pressing the button for the attack but before the attack animation actually happens, essentially letting you skip the actual attack, and if you dodge into your Panther form on each level of a combo you can essentially skip the earlier attacks in a combo and only allow the big heavy hitters at the end to come out.
 
It's an extraordinarily clever system that rewards skilful and creative play, and I just love it to bits. Bayonetta has other really neat ideas, like Witch Time (a nice little risk/reward system that encourages you to dodge enemy attacks at the last possible moment to slow down time and allow you to get some free hits in), a simple but fun parry system (just tilt the stick towards an enemy attack as it's about to hit to parry), a weapon switch system that allows you to equip any weapon to your hands or feet and swap between two loadouts, and a taunt system that will enrage enemies and cause them to hit harder and attack faster, but also give out more combo points, but I think Dodge Offset is the star of the show. It's present in a few other Platinum games, too, but it never feels quite as good as it does in Bayonetta.
 
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Bayonetta's story is... well, it's got some lore, at least. Umbran Witches, Lumen Sages, 500 year old grudges and a bit of amnesia thrown in there for taste. There's even a spot of fun with time travel going on. It's not going to win any awards, but I think the world it presents is a fun enough place to spend some time, and all that lore feeds into a nice bestiary of paradoxically evil angels for you to clobber. Bayonetta's enemies have this gorgeous design theme to them where they start off looking like beautiful marble statues, complete with lustrous gold accoutrements and serene, mask-like faces, but the more you hit them the more this delicate facade crumbles away to reveal the disgusting, meaty flesh beasts that dwell within. It not only looks cool, but it provides an excellent way of letting you know how close you are to killing an enemy when you're in the heat of the moment.
 
The bosses are the highlights, usually great big city-sized monstrosities that warrant a level unto themselves, full of cool hidden tricks you can pull to kill them more quickly. You can feel Kamiya practicing some ideas he would go on to implement more thoroughly in The Wonderful 101 with Bayo's bosses. But, of course, no character action game is complete without an equally-matched rival to pit you against, and Bayonetta gives us Jeanne, a fellow Umbra Witch (heavily implied to be of d'Arc fame), who provides some absolutely amazing, fast, intense bossfights that are some of the best in the genre. Ooh she's so good. She's just as stylish as Bayonetta, but she meets Bayo's cheeky demeanour with, hilariously, one of pure irritability. She's just angry all the time, and I love it :P
 
Bayonetta has some camera problems in certain parts of the game, where the confines of your combat arena are just too tight for the camera to sort itself out. It can be a pretty punishing game, too, with a pretty hard default difficulty and a serious reluctance to give you any health in a level. This is the only game I know of that won't even refill your health when you find all four pieces of a Zelda-style Heart Container; and you'd better believe you're heavily penalized for using any items or dying as you progress through a level. Adding to the frustration are some genuinely awful QTEs which pop up without warning and will instantly kill you if you screw them up. There are also notoriously long motorbike and missile riding gameplay sections that practically everyone hates, the icing on the cake being that Jeanne's best bossfight is locked behind seven agonising, unskippable minutes of Space Harrier.
 
Hideki Kamiya always does this, and I feel like you've gotta love him for it. The man loves him some off-kilter surprise gameplay twists, and what are you going to do, not play his amazing games because you don't like them? Nah, man, you've just gotta grit your teeth and bear it. They're not that bad, in the long run. Not that bad. But, in saying that, I also wouldn't blame anyone for preferring Bayonetta 2 over the first game, because it does sand off a lot of Bayo 1's rough edges and make for a much more pleasant experience overall.
 
I am definitely a Bayonetta 1 man, though, and if you're lucky I just might explain my problems with the sequel in my next post. For now, though, I cannot recommend buying yourself a copy of Bayonetta strongly enough. Whether it's the stellar PC port, the hot new Switch version, the great Xbox 360 original (via Xbox One backwards compatibility for extra goodness) or the still totally respectable Wii U version, if you like punching guys in interesting ways, Bayonetta is a masterpiece.


#14 Ocelot

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Posted 03 March 2018 - 03:04 AM

Bayonetta 2, my friends. 2014's GOTYest game of the entire year of 2014. It's pretty good. So good, in fact, that I've just bought it again for full price after it was ported from Wii U to Switch, even though I'm still playing in seven hundred and twenty pee in this year of our Lord 2018. Let's talk about this bad boy.
 
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The first thing you'll note about Bayonetta 2 is that BAYONETTA HAS SHORT HAIR OMG YAS QUEEN SLAY GRRRRRL. But also that there are more colours than just grey and gold! Bayonetta 1, for all its interesting art design, wasn't quite what you'd call aesthetically pleasing, at least at first glance. I think there's a lot to like about Bayonetta's art once you get past the drab palette, but there's no denying that Bayo 2 is a real looker. It starts off with one hell of a great Prologue level that sees our girl out for a day of shopping with her BFF Jeanne when they're rudely interrupted by a now-routine Angel invasion. Using a convenient military air display, you fight monsters on the back of a fighter jet, leap to a passing train, and eventually sprout wings from your back and show a King-Kong-sized demon dragon who's boss as it tries to scale a skyscraper. As video game intro levels go, it's a pretty good one.
 
Bayonetta 2 keeps up a breathless pace of frequent bossfights, locale changes and story developments. It's immediately a lot more inviting for a newcomer, not only in terms of its appealing design and big ol' spectacular setpieces, but also in its difficulty. While the first game only offered players Normal and Easy (Automatic) difficulties, basically goading people into choosing Normal by implying that Easy makes the game play itself, the sequel offers a standard Easy/Normal/Hard. Normal is about the same difficulty as the first game's Easy, while Hard is around the first game's rather difficult default level, so it caters well to both newcomers and Bayo veterans. It's a hot ten hours of wonderful Platinum gameplay, hype out the ears, and you can't help but come away from it feeling good. Even its couple of switch-ups in gameplay genre are pretty fun this time around, with a fighter-jet-based shooter level turning into a great Star Fox tribute if you wear your Fox McCloud costume when you play it (did I mention it's chock full of Nintendo costumes and Easter Eggs?).
 
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You might sense a 'but' coming along here, but before I get into the complaining I want to say that Bayo 2 is an excellent game, plenty of people (honestly probably most) people prefer it over the second game, and I totally understand why. If you're the type of person to play a game like this once, never really explore the depth of the gameplay and then move on to other stuff, Bayo 2 probably is a better experience than the often frustrating first game. Buuuuuut, speaking as someone who does really enjoy replaying these games and trying to learn the ins and outs... I don't think Bayonetta 2 has it where it counts.
 
The first game has a really interesting progression through its skill levels. You start off on Normal, probably don't do too well on your first playthrough but mostly wrap your head around things by the end. You unlock Hard mode after that, and you go into it with all your health, magic and move upgrades still unlocked, but in exchange you face harder enemies in greater numbers, and even the enemy spawns are switched up so you'll fight end-game enemies within the first handful of fights in the game. Following this, you unlock the final difficulty, Non-Stop Infinite Climax, where you're dismayed to find that the game has disabled Witch Time permanently. Without the crutch you've relied upon throughout your last two playthroughs, Bayonetta feels like an entirely different game, but if you stick around and keep gitting gud you'll find that the game actually works perfectly well without Witch Time, and indeed must have been designed from the ground up to be played without it. In many ways, the real Bayonetta begins on Non-Stop Infinite Climax. We hardcore now, baby.
 
Bayo 2 has Hard mode unlocked from the get-go, though, so it can't really offer you remixed enemy spawns because then you'd have enemies appearing in-game before the cutscenes that are supposed to introduce them, which would just be awkward for a first-time player. You still unlock Infinite Climax (they drop the 'Non-Stop' this time) after Hard, but now you have to deal with the new enemy spawns and the difficulty spike at the same time. Additionally, Witch Time isn't disabled for the highest difficulty in Bayonetta 2, and once you hit Chapter IV you'll realise why. You'll be cruising along, getting surprised a few times by the added damage output and aggressiveness of the rank and file enemies but mostly adapting pretty well, until you hit the game's first challenging boss, the Masked Lumen Sage.
 
He's a really cool bossfight on the lower difficulties; a relentlessly aggressive, super fast rival-type character who makes for some wonderfully quick back and forth fights. His first fight comes in no fewer than four different phases, has you both summoning giant monsters to fight in the background and is just awesome all around. He has a rather irritating habit of simply phasing through your attacks, but you can still clobber him around pretty well if you're on the offensive. Unfortunately, when you hit Infinite Climax, his ability to casually dodge through anything you throw at him is ramped up to the point where you basically cannot hit him unless you're in Witch Time. Suddenly you realise why Platinum have opted not to disable Witch Time for this hardest difficulty mode: you wouldn't be able to beat him without it. They designed the game badly. Oh boy. Look at this jabroni just no-selling those attacks
 
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Bayo 2 has several enemies, both bosses and regular enemies alike, that can simply read your inputs and automatically dodge any attack unless you're in Witch Time, and it makes for fights that are just tedious. You can't actually do anything to them; you can only sit back, pew-pewing away with a mostly useless pistol to chip off some damage here and there, waiting for them to attack you so you can dodge your way into Witch Time and punish them with the one or two attacks you can get in before your ridiculously short window ends. Do that for about four minutes and they all go down, assuming you don't get hit by their attacks that knock out about a quarter of your health bar apiece. It's a really boring tactic, and it makes more or less all the human-sized bosses feel exactly the same, but there's literally nothing else you can do to them. You simply can't touch them without your magic slow-mo power. It's really bad.
 
They've also added a new mechanic into the mix for the second game called Umbran Climax, which is more or less this game's version of DMC's Devil Trigger. You build meter, you hit the button, and you turn into a more powerful Bayonetta whose every attack is a Wicked Weave and whose Wicked Weaves become SUPER Wicked Weaves. It's a really satisfyingly cathartic way of punching some dudes. Unfortunately, it also upsets a lot of the remarkably well-balanced systems of the first game. Umbran Climax allows you to juggle and stagger huge enemies, for instance, but the first game already allowed you to do that with Wicked Weaves, so in order to make Umbran Climax seem more powerful they've actually made your standard form less powerful. 
 
Bayonetta 2's Wicked Weaves deal noticeably less damage and have less effect than they did in the first game, and with a diminished ability to influence enemies, fights become a matter of waiting until you get the opportunity to pop Infinite Climax. There's basically no strategy to it, since it doesn't change your abilities in any real way other than "hit harder", so there's no reason not to pop it when you've got it. Are enemies close by? If so, blast off. If not, wait a few seconds until enemies are nearby, then blast off. DMC's Devil Trigger has quite a few uses beyond just hitting harder, such as health regeneration, faster movement and access to a slew of exclusive moves; in comparison Umbran Climax is just a very shallow "hit the button to punch more gooder" mechanic that really does the game a disservice.
 
Also I feel like a lot of the enemy attacks have weird timings and are poorly telegraphed, with some coming too fast to react to and others just being unreadable flailing manoeuvres that make it really hard to tell when exactly you need to dodge. There are a lot of bossfights where you sprout wings and fight in the air or underwater, which are a neat spectacle but really limit what you can do because there's nowhere to actually go. This ain't Zone of the Enders 2; in Bayo 2's airborne flights you basically just hover in place and shift around a little bit. There are these late-game levels where you get sent back in time 500 years and Bayonetta comes face to face with her dearly departed mother, which could have been a great opportunity except that nobody actually talks! Three straight levels of a fun throwback to Bayonetta 1's environments and enemies, fighting alongside your mother, piloting a sweet mech suit against half a dozen city-sized Angel bosses, and our usually outspoken Bayonetta doesn't have more than a couple of words to say the entire time. It honestly makes me wonder if the game got hit with the rushed development stick and they couldn't finish those levels properly.
 
And finally there's a character named Loki who's voice actor gives what is genuinely one of the worst professional voice acting performances I've ever had the displeasure of experiencing. He tries to play him with this Artful Dodger accent that he has absolutely no talent for, and he does such a poor job that it calls the bona fides of the whole production into question. How did people cast, audition and hire this guy, and let him record all his dialogue, and implement it in the game and press it all to a disc/cartridge and sell it in a store without anyone involved saying "Oh no, this man is terrible, we cannot use this trash he has given us"? He's awful.
 
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But I really do like this game! I'm dumping all over it, but I've been playing it every night for the last two weeks and it's great. Right now I'm trying to Pure Platinum the entire game on Hard difficulty, which means going through each level and getting the best possible rank in every fight (including hidden fights and secret missions), and I'm having a lot of fun. I think Bayonetta 2 is at its best on Hard mode, because Infinite Climax just isn't balanced or designed really well and really puts the game's flaws into clear focus. But, hey, most people aren't even going to play on anything above Normal, so that's not the end of the world. Bayo 2's a great game. 
 
(But I do hope Platinum tries to bring back the combat balance of the first game for Bayo 3.)


#15 Ocelot

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Posted 15 March 2018 - 04:14 AM

The Devil May Cry HD Collection is out today on PS4, Xbox One and PC, and unfortunately it sounds like Capcom have Capcpom'd it. At best, it's a direct port of the PS3/360 version, which was acceptable for the time but never one of the better HD remasters going around. They changed DMC1's control scheme to line up better with the other two games (the PS2 version had you jump with Triangle), and they upres'd them to 720p, then called it a day; menus were still 4:3, pre-rendered cutscenes were still 480p.

 

And now we have that same mostly-decent HD Collection ported to the current consoles, still with 4:3 menus, still with 480p cutscenes, but now the games themselves run at 1080p. And there are apparently a whole host of new glitches, particularly with the PC version, like cutscenes not playing, subtitles not appearing, sound effects playing at the wrong pitch, missing visual effects. DMC1 has no built-in framerate cap option on PC, and since it's an old Japanese game the game is designed to run at 60FPS and only 60FPS. If the framerate goes any lower or higher, the entire game will play slower or faster. Here's a clip of DMC running at 2.5x speed on a 144Hz monitor. You have to use RTSS or something similar to cap your framerate to 60 to get the game to play right.

 

But there's a silver lining to this Capcpcom cloud. If you can control the speed at which DMC runs by capping your framerate at 60, what if you capped it at 72FPS instead and manufactured a 20% speed increase for yourself, identical to the optional Turbo Mode toggles available in later DMC games? Turns out it totally works! It screws up all the cutscenes and probably makes sounds play at the wrong pitch, but that's still pretty cool.

 

And furthermore, the fellow who modded a real-time Style Switch function into DMC3's original PC port has promised to bring his work over into the new DMC Collection on PC, and start work on a real-time weapon switch option for DMC1, so at some point in the future this could become an excellent way to play this game.

I should be getting my PS4 copy tomorrow, so you guys better get ready for the heaping helping of rabid fangirling that's going to come blasting out of all my pores after I load up DMC3.



#16 Ocelot

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Posted 23 March 2018 - 12:21 AM

Alright, you guys! Are you ready? The time has come (and so have I) to talk about the greatest video game ever made: DEVIL MAY CRY 3!

 

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I've just finished it for the first time in years, via the new PS4 HD Collection (which is an utterly barebones cashgrab that I'd really only recommend buying on sale some time down the line, but is nonetheless a faithful HD-ization of this game), so I'm ready to come at you with my fresh thoughts on this game. Does it still hold up, even thirteen years after its original release? Surely it's been outdone by something in the intervening years? Surely it must be showing its age by now?

 

Well, I'm not going to lie to you: it definitely shows its age. This is a Playstation 2 game, and there's no ignoring that. It's a game where the camera frames you from fixed camera angles about 90% of the time, and the remaining 10% of areas that give you a little bit of manual camera control come with an inverted X-axis that you can't un-invert. The level design consists entirely of 'Explore until you find a locked door, find the key to that door, then backtrack to the door'. Its economy of earning orbs and buying upgrades is so stingy that it'll likely take two or more full playthroughs to actually buy all the moves you want to use. Platforming is straight up horrendous, and the game wants you to do more of it than you could ever enjoy. Secret Missions come from an era where you weren't supposed to find them without a guide, and even then you weren't supposed to actually beat them without a hundred hours of experience with the mechanics under your belt. The game is difficult, and its checkpoints are pretty unforgiving.

 

And even certain aspects of the combat fall short. I feel like the later DMC games have always suffered for their insistence on sticking to the original Devil May Cry's control scheme. Your evasive roll is a matter of locking on, pointing your analogue stick sideways (relative to the way you and your enemy are oriented), and then pressing the X button, which is just awkward. The original DMC didn't have any aerial attacks, but when DMC3 introduced them it confined them to the Swordmaster Style, which is a combat style you have to select from a menu before you start a level; same thing with being able to block attacks or dodge in mid-air, they're both exclusive to different Styles. Then DMC4 came along and let you switch Styles on the fly, but it didn't really solve the problem of it being really clunky to have to switch gears in the middle of a fight just to attack while in the air or dodge without using three buttons. Bayonetta, for example, lets you do all that in one perfectly simple and elegant default control scheme, and so does Ninja Theory's DmC for that matter. One of the reasons I'm so excited for DMCV is to see how Itsuno brings DMC back into the modern era with stuff like this.

 

So, with all those complaints, can DMC3 really be called the greatest game ever made? Well, I think it can, because I still absolutely loved playing this game all over again. It is hard to go back to being restricted in certain ways, especially coming off replaying both Bayonettas last month, but you get used to a different rhythm of dude-fighting pretty quickly, and DMC3's combat is just as sublimely beautiful today as it was way back at launch. It's the nature of video games that new ones build off the old ones, and I feel confident in dragging out the old quote that if Bayonetta has seen further it is by standing on the shoulders of giants. Giant, fantastic action video games. Named Devil May Cry 3. The greatest video game of all time.

 

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God, it's so good, you guys! YOU GUYS! You don't even know! This is a game that starts with a cutscene of Dante effortlessly destroying a room full of demons, then cuts to gameplay with an enemy already attacking you as if to say "OK, now you try". It dares you to get good, and it constantly tests your mettle. "Oh, you can fight basic enemies? How about a boss? How about a boss for the next three levels in a row? And the third boss is two bosses at once, and when you kill one the other one gets superpowered!". Forget your lame Dark Souls; DMC3 was doing Ormstein & Smough years earlier.

 

It's constantly giving you new tools to play with, new melee weapons, firearms and Styles, and then throwing you up against new enemies to test them out with. The game sets up this rhythm of pitting you against a giant, intimidating boss, and then rewarding you with a new weapon forged from that enemy's soul when you defeat them. Pass the test, get a reward. That is until you come up against Beowulf, a giant winged dog creature who stomps Dante flat and scarpers rather than die and cough up his soul like all the rest. Instead, Beowulf is defeated by Vergil in a cutscene, and then Vergil takes the weapon for himself, and the next time you fight Vergil HE USES THAT WEAPON AGAINST YOU! It's the most amazing moment in all of video games, and I just love it so much. "Oh, you thought you'd worked out the pattern? Try this on for size, pal."

 

And let's talk about Vergil, because he's the best rival character in all of video games. Character action games need a rival; it's all well and good to fight city-sized mechs or horrible blob monsters, but eventually you're always going to want to pit your skills against your own equal. Sword against sword, gun against gun, team of 100 tiny heroes against team of 100 tiny heroes, whatever the case may be. These fights are almost always the highlight of the games they feature in, but no highlight is higher or lighter than Vergil. Because, while most rivals are merely the second-in-command, the lieutenant of the main bad guy, Vergil transcends them all to become the driving force behind the game. DMC3 teases you with Arkham, the heterochromatic generic bad guy with a bad guy plan (DMC3 might hold the record for highest percentage of main characters with two different coloured eyes: three out of five :P), and indeed you do fight him at the end of the game after he absorbs the ultimate demon power and turns into a gross blob... but halfway through the fight Vergil zooms in, declaring that you, the player, "can't possibly think that he deserves to be our main event". You fight alongside Vergil for the remainder of that fight, and then Vergil himself steps up as the real final boss of the game. It's still one of the best bossfights ever designed, for my money.

 

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So, there you have it, the greatest video game of all time. I might have finished it on Normal difficulty, but that's just the beginning. There are no fewer than four further unlockable difficulty modes, each not just altering enemy health and damage values but changing up enemy placements and AI routines, with the hardest mode even giving enemies the same superpower Devil Trigger mode you yourself have as an incentive to kill them quickly. DMC3 is from an era where developers liked to pack a game with unlockables, so each difficulty unlocks cool new costumes to play with, and there's a whole extra mode called Bloody Palace where you fight your way through hundreds of waves of enemies. And then when you're done with all that you can do it all over again as Vergil in his own playable campaign, with an entirely new gameplay style just as deep as Dante's. And that's not even mentioning the absolutely insane skill ceiling this game has if you want to start digging into the mechanics. Back in the day we all learnt to jump cancel from watching tutorial videos on early Youtube filmed off actual CRT TVs with actual video cameras. I still remember the first time I watched Hell Sloth is Dead, the combo video that started them all:

 

 

Alright, well, I said I was going to do it, so I guess I have to follow through: a reverse-order playthrough of the Devil May Cry series doesn't count if you don't suffer through DMC2. Oh boy. See you guys next time.



#17 Ocelot

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Posted 05 April 2018 - 07:50 AM

And so we go from what maybe the greatest video game ever made, certainly the greatest Devil May Cry game ever made, DMC3, to the unarguable worst one: the absolute hunk of trash that is Devil May Cry 2. I played this whole game, you guys. It has two campaigns and I played both of them. What I'm saying is you'd better be really grateful that I've suffered through this for your pleasure.

 

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We're starting with this picture because it's literally the only good thing about this game. Dante looks cool in DMC2's official artwork; this specific permutation of the ol' red pants/red coat/white hair ensemble is probably the coolest he's ever looked. And, I guess if you're really going to force me to say some more positive things about this game, there are a couple of reasonably interesting things you can do. The game has a one-button dodge mechanic, and that button can also be used to run up and along walls like you're in the Matrix. These moves would later be refined and become part of the Trickster Style in DMC3 and 4, as would a couple of the dude-shooting mechanics you can do by hammering the Square button in different ways. And... that's all I've got for positives. It's 60FPS, I guess. It only crashed once in my whole playthrough? It's mercifully short?

 

Alright, let's get stuck into this. The instant you wrap your hands around the controller you're going to know there's something wrong with this game. You press the Triangle button and Dante lazily pulls his sword from his back and swings it with all the skill, purpose and intent of a sleepy toddler trying to catch butterflies in his net. There's a good half-second of animation lag between your button press and Dante's sword hitting an enemy, and when he's finished slicing you have to wait for him to put the sword away before you can do anything else. It might only be milliseconds of downtime, but the original Devil May Cry made a name for itself by allowing you to skip that kind of downtime. Sure, you could wait for Dante to sheathe his sword after an attack, but if you had the know-how and the skill you could cancel out of the animations into another attack or a roll. DMC2 doesn't let you cancel anything into anything. It feels like Monster Hunter, basically. If you're going to swing that sword you'd better mean it, because you aren't going to be doing anything else until Dante's done swingin'. God help you if you mashed Triangle more than once and the enemy you're fighting isn't the type to get stunlocked easily, because you ain't gonna be dodging until every one of those pathetic sword swats has come out.

 

So it's a Devil May Cry game where the sword feels bad to use, but there must be other weapons, right? Even DMC1 had a sick set of gauntlets and greaves you could switch to! Well, I have good news and bad news. The good news is that DMC2 has three melee weapons. The bad news is that they're all swords, and they all have identical movesets. As far as I can tell the only difference is that one hits hard but has shorter range, one is weaker but with longer range, and one is the Goldilocks sword. The one you start the game with, in fact. And, thanks to this game's approach to upgrading weapons (i.e. you don't buy new individual moves, but rather just upgrade your sword's level), your upgraded starting sword is probably going to be more powerful than the 'strong' sword by the time you find that one in its un-upgraded state, so there's no reason to bother with it. Long story short, If you want to hit a guy in this game, you're going to be doing it with a sword, and it's going to feel terrible.

 

Which leaves us with this game's most devastating attack of all: the Square button. The pro-est strat for every fight in this game is to find yourself a nice, cosy little corner of the environment where the awful fixed camera will frame only you and none of your enemies, then lock-on to something off-screen and just hammer the shoot button until everything dies. Guns are powerful enough that you can just watch your enemies' health bars dwindle away to nothing one-by-one. And then towards the end of the game you find a new gun that lets you just hold the Square button down rather than mashing it, and from then on you're on easy street. When in doubt, just shoot. You'll occasionally be tempted to move in close and hit a thing with your sword, but then you'll immediately be reminded of how awful it feels and you'll go right back to shooting. Eventually you'll build up enough Devil Trigger gauge to pop into your more powerful state, which makes your gun attack even more devastating and will just chew through a boss' health bar like nothing. Lock-on and shoot. Congratulations; you've beaten the game.

 

Though, saying that, locking on isn't really even necessary. I mean, there's a lock-on button, but it doesn't... y'know, work, or anything. The game has an extremely strong soft-lock mechanic that you can't turn off (which makes it utterly impossible to, say, hit a switch with your sword when there are enemies nearby), and the manual lock-on is the kind that'll prefer to target an enemy miles away and off-screen rather than the one that's currently murdering you. Basically Dante's going to attack whoever he wants to attack, and you're just along for the ride. If you really want to select one particular dude you're going to have to hold R1 to lock on, then click L3 to cycle through every enemy on screen until you reach the one you really want. Doesn't that sound fun?

 

I haven't even told you about this disaster of a story yet, you guys, so strap yourselves in. First off, Dante has like ten lines in this whole game. Forget the mouthy wisecracker you thought you knew; this game's Dante is a taciturn cardboard cutout of a man who dramatically flips a coin every time he needs to make a decision. Along for the ride is Lucia, a red-haired woman of indeterminate fake foreign accent, who is out for some kind of... vendetta? Quest? I don't know. This game is so underwritten I honestly have no idea what was going on. There are some artifacts, and there's an evil businessman who wants to raise an evil god to do his bidding, and you're in this bizarre country that has an ancient seaside village and a weird spooky castle within walking distance of a modern city. I think the game wanted me to believe that this city was just a regular place hiding a monstrous secret, but at no point are you ever not being accosted by demons so the illusion doesn't work. There's zero sign of human life in the whole place; it's just a video game level to run through and fight guys in. Some of the guys you fight are just army tanks, but the name on their health bars is "INFESTED TANK", so you know it's something something demons. Later there's an INFESTED HELICOPTER, too!

 

So Dante almost never speaks in this game, and neither do any of the bosses you meet along the way. After a tiny bit of exposition in Mission 1, I think the next word is spoken in Mission 8. After wordlessly fighting another boss in the city, Dante looks up to see a helicopter flying overhead. Next mission we see the helicopter land at an oil rig out in the sea and, inexplicably, Dante walks in through the oil rig's front door. How did he get there!? The game apparently doesn't consider this essential information, because it's never explained. And, after fighting your way through the oil rig, killing a boss, and then of course fighting your way back through the whole oil rig in reverse (that proto-DMC4 level design :P), Dante just appears back in the city again. Did he swim? Like, what am I supposed to believe here?

 

Gawd, you guys. Just... what do I even say? The bad guy is this Heihachi-looking bozo named Arius, and the first time you fight him he gets a mission all to himself; that mission took me FIFTY EIGHT SECONDS, according to the ranking screen. This whole game, counting both playable campaigns (the PS2 version originally came on two discs!), is like five hours long, max. Apparently if you beat both characters' story modes on Hard mode you unlock a third playable character, Trish from DMC1, but I will never know how she plays because oh boy am I not going to do that.

 

I don't know what this game is. From what I've been able to piece together over the years, DMC2 didn't start out life as a sequel to Devil May Cry, but rather as some other generic Capcom action game that went into production before DMC1 had even been released. When Devil May Cry proved to be a big hit, Capcom decided to turn this game into a quick and dirty sequel to cash in on those early PS2 generation dollars. Things like Dante's new coin-flipping quirk were a holdover from the game's original lead character. But development was troubled, and very late in the project the original lead was replaced with our pal Hideaki Itsuno, who was left to pick up the pieces and turn DMC2 into something shippable. So, unfortunately, DMC2 will forever besmirch Itsuno's otherwise sterling body of work, and the Devil May Cry series itself. Don't play Devil May Cry 2, people. I've jumped on this live grenade so you don't have to. There is nothing to be gained by reexamining DMC2 in our modern age. It was trash back then, it has been trash through all the intervening years, and it is still trash to this very day. Just an awful, awful game.

 

Alright, so when next I see you, it'll be time to take things all the way back to the beginning, with the undeniable masterpiece of video games that started it all: Hideki Kamiya's Devil. May. Cry. See you soon!



#18 Ocelot

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Posted 19 April 2018 - 03:34 AM

OK, here we go with Ocelot's final tiresome thesis about a Devil May Cry game before the fateful day comes when Devil May Cry 5 is finally announced at E3 this year like you all know it will be! It's time to go back to the grand daddy of them all, Hideki Kamiya's first of many masterpieces, a game that singlehandedly invented a genre (the best genre, no less). It's time for Devil May Cry.
 
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As you might have guessed from the 1024x768 wallpaper, we're going back to August 2001, during which the Playstation 2 was experiencing the one of the all time great years for video games. MGS2, Silent Hill 2, Gran Turismo 3, Final Fantasy X, Ico, Jak and Daxter, GTA III, Ace Combat 4, Tony Hawk's Pro Skater 3; it was all-time classics as far as the eye could see. Wall to wall bangers. An absolute bloodbath. And amongst them, rubbing shoulders with the greats was a new, unproven action game from Capcom, from the up and coming hotshot director Hideki Kamiya, fresh off his success with Resident Evil 2. Take a look at this ancient trailer from early in the game's production, before they could even work out how to animate Dante's flapping coat in gameplay, and tell me this wouldn't have got you super hyped to play this bad boy:
 
 
This game is still so good! DMC2 had me wondering if I'd ever experience joy again while I played it, but the original DMC? No, Hideki Kamiya just gets it. DMC feels great from the moment you get your hands on it and start pressing every button to see what they do. Swinging Dante's giant sword, firing his sick twin pistols, jumping and flipping around, it all just has that perfect tactile feedback from your thumbs pressing the buttons to your eyes and ears drinking in the results. Even 17 years later, DMC's sound effects are indelibly printed on my eardrums, from the "tink tink" of every ejected shell from Dante's guns bouncing off the floor, to the way your evil electric sword crackles through the air, to Dante's wonderfully guttural "YERGH!" every time you do a Stinger. And don't even get me started on the menu sound effects. Devil May Cry is from that era where you could tell what game a person was playing by the sound effects it made as they navigated the pause menu, and no development house did it better than Capcom.
 
Devil May Cry is video games to me. Devil May Cry. Is. Video games. It excels in all those little things that make this medium fun. It doesn't just throw you into a spooky castle; it fills that spooky castle with everything your inner five-year-old thinks of when he thinks of castles. Suits of armour everywhere that you can smash for red orbs. Hidden rooms accessed by activating big clunky mechanisms in the walls, big ol' portcullises slowly lowering from the ceiling. Is there a drawbridge? You bet there's a drawbridge, buddy! Are there creepy rooms full of torture equipment? Bro, you ride a secret elevator down to them! Towers? Oh, we've got towers, and these towers are entirely empty but for a spiral staircase around the inner walls, so when you get the urge to jump off from the top and go screaming all the way down to the bottom, you go ahead and do it! You ain't gonna take fall damage in Devil May Cry!
 
There's a pirate ship in this game, and before you even ask, yes of course it's full of ghosts. You have to ride the spooky ghost pirate ship to a different part of the island, and it crashes in an area with a small waterfall, and you'd better believe there's an item hidden in that waterfall, buster. This game is just packed to the gills with cool stuff that you want to be doing in video games, y'know? It's not enough to be playing as Dante, the quintessential Cool American Video Game Character Written By Japanese People; the game is constantly making all the right choices to keep you coming back for more. Whether it's finding cool new areas of the castle, awesome new weapons, stashes of orbs for upgrading your stuff, new enemies to fight, it all feels good and looks great and I love it.
 
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But, while it's all wonderfully enjoyable, it's certainly no cakewalk. Devil May Cry is actually pretty damn hard, to be honest. Enemies are dangerous, and they hit hard. You don't have a whole lot of health at the start of the game, and it probably isn't even 20 minutes until you're fighting the first boss. Phantom, an enormous lava spider with a sassy attitude, is the point where basically everyone will get the infamous "Do you want to switch to Easy mode?" message, which the game automatically throws at you if you die too many times in one particular spot, but you mustn't ever agree! Kamiya's cruelest trick of all is to extend a hand to those in need, then have it come back to bite the player: if you do drop down to Easy mode, your save file is locked to Easy forever, you can never move up to Normal or the higher difficulties.
 
A lot of the game's punishing nature is just down to how video games were at the time, though. DMC uses a particularly unforgiving version of lives, where you can save between missions, but any death during a mission will force you to use a Yellow Orb to restart from the last checkpoint. Run out of Yellow orbs and you're back to your last save. The twist is that Yellow Orbs are a ONE TIME USE, and if you run out you either have to buy or find more, or just finish the game with no more continues. And forget about trying to go back to a previous mission to grind red orbs and buy some upgrades. DMC has no Mission Select screen; you play them all in order, and if you miss a collectible or Secret Mission you just have to get it on your next playthrough. And when you beat the game on Normal and the credits have finished rolling, the game immediately restarts again on Hard without so much as asking you, so if you want to play it again it's going to make you work.
 
Alright, so I won't lie to you, sometimes it's pretty frustrating. This is a 2001 game, and while it did carve out its own genre, it definitely wasn't ahead of its time in the game design department. DMC is all fixed camera angles all the time, and it doesn't have tank controls, so whenever you move from one camera angle to another your analogue stick will suddenly be pointing the wrong way and you'll have to wiggle it to line it back up again, which often leads to you accidentally moving back into the area of the last camera angle, which is frustrating at the best of times and infuriating if it happens in the middle of a fight. You dodge by locking-on, pointing the analogue stick sideways and pressing the jump button, but of course in a fixed-camera game you aren't always going to know where sideways is relative to your character. And while it was remarkable for 2001, the combat controls are extremely stiff and restrictive by today's standards.
 
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This handsome fellow here is a nexus of all the game's worst features: the boss appropriately named Nightmare. An apparently sentient puddle of literal garbage, you force him to take physical form by activating a switch in the bossfight arena, then you dodge his attacks while waiting for him to pop a glowing energy core out of his body, then you go to town on said core to do damage. Seems simple enough, right? What the game doesn't tell you is that if one of these energy cores breaks, Nightmare will gain a new set of attacks and become noticeably more aggressive. But the cores don't break based on a damage threshold, rather by taking a certain number of hits. So if you choose to hit them with your sword (which you obviously would), you end up doing middling damage, breaking the core and having to fight an angrier, more difficult boss. The pro-strat is to use your gauntlets and hit the cores with charged punches to maximise damage while minimizing number of hits, but I only know this from reading said strat from other people. Oh, and the kicker? You have to fight Nightmare three times in the game, and his status PERSISTS between fights. If you accidentally broke a core and made him aggressive in your first meeting with him, he's going to stay that way for the next two fights.
 
I honestly don't know what this game would be like for a newcomer picking it up in 2018. I absolutely loved playing it all over again, but I played it so much back in the day that it's like rereading a favourite old book or something; that muscle memory never truly goes away. I think it's one of the best games there is. But I wonder if it's just too far back into the dark ages of early 3D video games to really capture a more modern audience any more. It's punishing, obtuse, and if you aren't the type to derive joy from the act of killing a whole bunch of monsters with a relatively simple combat system, then you ain't gonna get your money's worth from the story side of things. This is a game that ends with the hero accidentally finding a goofy old seaplane to fly out through the caves under the spooky castle island before it all explodes, then giving a friendship speech about how humanity will conquer the darkness.
 
But I love it, you guys. I adore this game. I think it's one of the best ever, even with all its flaws. It started out life as an early Resident Evil 4 prototype, before the staff realised they were making it too cool for Resident Evil and had to retool it into its own thing altogether. It's equal helpings of sincere awesomeness and almost embarrassing cheese, with the "Japanese" dial cranked up as far as it could possibly go. It created the best genre of video games, spawned a slew of sequels that run the full gamut of quality. I am, ultimately, a DMC3 man, but if you wanted to tell me that the original Devil May Cry is the best one, I wouldn't argue with you. What a game. What a series.
 
Capcom? It's time...


#19 Ocelot

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Posted 09 May 2018 - 05:07 AM

Here it is, boyeeeeeez, everyone's favourite moment of the year: Capcom's Business Divisional Strategies and Projections in FY2018! Now, I know you're all going to want to read it in full when you have the time, but for now we're going to focus on this page here:

 

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See that '2019 Plan' in the rightmost column? Where they're expecting 7.4 million combined sales from two Major Titles to be released before May 2019? There it is, my friends. You know what that means. I know what that means. We all know what that means.

 

It means Devil. May. Cry. Five.

 

That is all for today.



#20 Ocelot

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Posted 03 June 2018 - 09:37 PM

BUCKLE YOUR SEATBELTS, PEOPLE, because IT. IS. HAPPENING.

 

The good internet detectives of Resetera have been putting in the legwork, and they've found that a company with ties to Capcom (the same company that registered the domains for RE7 and Monster Hunter World shortly before their reveals), has just registered none other than devilmaycry5.com, and updated their already-existing residentevil2.com.

 

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ONE MORE WEEK! It has been ten years of starvation, but in seven measly days we will finally EAT.






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