I suppose that by now you will already be aware, but just in case I’m telling you: the Devil May Cry saga is not exactly known for its restraint. From its cast of protagonists, a collection of misfits that constantly line the fine line between the theological-inspired antihero and the teenager who does not understand his parents and listens to My Chemical Romance too much, to his soundtrack, his discarding arsenal and his obsession with the style when executing demons we speak of a franchise that is based on excess as the first commandment of its design, but also in a time when the videogame did not have to ask for forgiveness. A free and brazen time that in a greater or lesser way we lost with the three dimensions, and that dared to experiment with what was needed if the playable experience was benefited by the way: androids with magnets in the head, carnivorous plants that shot balls fire, pits with skewers as literal as a roast chicken hidden in a bin … back then the video game was that, a storm of raw concepts that nobody asked to justify, and that’s why, deep down, Devil May Cry never It was so different from Megaman; that’s why Bayonetta has two pistols in his heels. There is a lot of talk about what Hideki Kamiya has contributed to the environment from the point of view of mechanics, but we can never thank him enough for having reminded us a bit of all this.
And I say this because I understand that we all have our cool retinas in that recent trailer in which Dante appears on the scene, wielding a motorbike that transforms into a pair of power saws, or the one in which Nero, the current manager of the business, He pulls his own arm to serve as a skateboard. The trial version we’ve had access to, a brief chapter of about twenty minutes that starts aboard Nico’s van and ends up facing Goliath, a demon the size of a block of flats that throws fireballs through of the jaws that it has in the belly, still does not allow to experiment with both systems, but it has allowed us to begin to make contact with a mechanics that defines all the design and tip returns to transport us to the times of anything goes: the Devil Breaker , a collection of high technology prosthetics that happen to replace the demonic arm of Nero and that are there because, simply, they work. Because they enrich the fight, because its interchangeable nature allows the game to experiment with take-off ideas and requires the player to propose strategies in the medium term, and because, just as Castlevania limited himself to hiding items in candelabra and shrugging his shoulders, Devil May Cry 5 could not care less explain who has left all those expensive mechanical arms thrown by every corner of the stage.
The mechanics are really simple, and diving a little more we can find even more explicit references to that golden age of the videogame for the videogame: to Tetris, without going any further, because the key to the whole matter lies in a small wheel located in the bottom right margin that acts both as an inventory and as that box that allowed us to plan our movements knowing that a long card would soon arrive. In total we can store up to four of these mills, but, and here comes the class detail, access to them is completely sequential and involves getting rid of the smoky scrap that used to be an Overture or a Gerbera before using the next one. The playable implications of this devastating small print are not long in coming, because the pace in Devil May Cry 5 is obviously dizzying and the game constantly insists on re-shuffling the cards, throwing us groups of enemies with flying ability that could require impulses airs that facilitates the Gerbera, more leathery opponents that fry with one of the sparks of the Overture and a couple of steps beyond a narrow corridor where to extract oil from the small projectiles with capacity to bounce that shoots, again, the Gerbera.
Obviously we can ignore all this and focus on distributing swords without more or more, but play with intelligence and access to really juicy style qualifications, something that should be a religion for this franchise, requires an appropriate tool for each situation, and this choice It comes in the form of sacrifice: we can lose our arm when receiving an impact while we use one of its powers, a risk balance reward of manual, but beyond this the intentional change to the next hulk that we store in the wheel implies to immolate the current deliberately by triggering a trigger.
Obviously we can ignore all this and focus on distributing swords without more or more, but play with intelligence and access to really juicy style qualifications, something that should be a religion for this franchise, requires an appropriate tool for each situation, and this choice It comes in the form of sacrifice: we can lose our arm when receiving an impact while we use one of its powers, a risk balance reward of manual, but beyond this the intentional change to the next hulk that we store in the wheel implies to immolate the current deliberately by triggering a trigger. I do not think it is necessary to discuss the strategic implications of all this, but suffice it to say that in conditions of real fire, and limited to an arsenal that in the demo only included the two arms mentioned so far, the system was already decisive, and that Mathematics dictates that once known possibilities come into play, such as the aforementioned flying arm, a fourth ingenuity that will allow the enemies to be shaken, and a fifth that manipulates the flow of time at its own will, the depth should be fired. That, and that any system that promises to replicate Bayonetta’s witch time in one way or another is received through tears in this holy house.
Although sometimes remembering the witch is hard, and when it comes to the most basic combat, which revolves around the sword, the pipe and the combos of a lifetime, it is important to moderate expectations: the moveset is satisfactory in terms of forcefulness (help, I suppose, that the game is excellently animated), but all that depth that showed the system of Devil Breakers contrasts quickly with a rather simple configuration, a scheme based on a pair of buttons that primarily seeks to combine both weapons with the intention of keeping the combo alive but not particularly varied in terms of individual sequences: where Bayonetta exploited the pause and the pulsation cadence as a key to an exorbitant movement list Devil May Cry is limited to sequences of simple combos with the triangle, sets of sword pits that can be tinted from time to time with an upward projection, a falling thrust or a projection towards the front but that soon accuse certain lack of versatility. A versatility that ends up coming hand in hand with the aforementioned Devil Breakers and above all their charged attacks, which in the case of the aforementioned Overture and Gerbera allow to discharge area detonations and even rays of concentrated energy dirigibles with the stick that can devastate with all the enemies of the same room, but despite the spectacularity of these great endings a list of combos of daily use something more generous would not have been more.
Although the colors were made for tastes, because what Devil May Cry 5 loses in terms of complexity of its combos is soon compensated by a sense of mobility practically unprecedented in the genre, and that in addition to the verticality and the importance of exploiting the aerial movements we already knew comes to rely on this fifth delivery on a hook, another, with which to cut distances in a similar way to what was seen in the recent Marvel’s Spider-Man: a simple pulse and that enemy who insists on harassing us with projectiles from a safe distance happens to be hooked, which is great to tell a couple of things up close or to propel ourselves and cross the battlefield from one side to another distributing razors where appropriate.
The input again is simple, and in the same way that the dodge is based on the right bumper acting as a modifier: playing with style does not imply memorizing excessively complex commands but knowing how to combine this R1 and the four front buttons with a certain rhythm, and when everything Click the experience is truly satisfactory because in the background everything is fed back: because it is relatively simple to dodge an attack, cut distances with the hook, take care of a small group, regain height with the air impulses of Gerbera and maintain control of the situation shot from a high position to fall again of a sword and will start again, and because all these improvised choreographies soon open the way to the highest grades, those that make the music rumble and at the same time renew your adrenaline. And I really do not think there’s much more to tell, because Devil May Cry 5 relies, fortunately, on that kind of primitive and kinetic satisfaction that sometimes it’s hard not to miss, although in this sense you may want to know another small detail: pressing another of