My article for The Feminist Wire asking the titular question. For starters: STAGGERINGLY GRATEFUL to have been accepted by The Feminist Wire and their amazing editorial staff. Second, I finally got something published that’s not about videogames!
“WHAT A LITTLE DIVA YOU ARE!” CAPCOM’S BAD BOY IS BACK
Released this month free to Playstation Plus users, the 2013 reboot of the Devil May Cry franchise entitled ‘DMC’ early images looked more like a Eurotrash, Action revamp of Heavy Rain than a successor to the legendary (the first and third games, at least) action series from Capcom. Developer Ninja Theory promised a modernized reimagining of Devil Hunter Dante and his brother, fan favorite Vergil, alongside updated combat and levels. While neither the revamped Dante nor the predictable family melodrama impress, the combat is frenetic, intuitive and the level design is a near perfectly realized surrealist mind warp.
DMC has been controversial since its announcement – Dante’s redesign drew immediate criticism from long time fans, his signature white hair replaced with a raven mohawk. To prove he really is the same Dante we all know and love, Ninja Theory is expressly preoccupied, in the first half of the game at least, with building Dante up as a total badass. If the fashionably homeless redesign wasn’t enough, the intro sequence is a checklist of teen boy wish fulfilment: Dante’s a booze hound, lives off the grid in a trailer, has threesomes with strippers, exposes himself to a stranger – all in the the first 5 minutes!
It doesn’t work. For most of the game he’s a tragically over choreographed walking Axe Body Spray commercial, more clearly influenced by Fight Club‘s Tyler Durden than Devil May Cry’s Dante. A nihilistic, handsome, sex addicted vagrant, at least Palahnuik understood Durden as the male ego run rampant and satirizes Durden’s self-destructive absurdity as a critique of masculinity. DMC’s Dante is a Durden clone, but while everything from corporatism to Bill O’Reilly to The Real Housewives is satirized, Dante’s behavior is only ever presented as “cool.” In fact, DMC is in love with Dante’s focus tested “edginess” – never impling to players an ounce of awareness (as with Durden who literally fulfills the nihilist wishes of Fight Club’s Narrator) or even camp (as with the original, demon slaying as performance art Dante). Why is a game so in love with tearing down cultural inanities leaving its own boorish and obvious protagonist untouched?
To Dante’s credit, he does get better. The self possessed and calculating Vergil is overall more interesting, but the stealth best character is Kat. The mousy female lead is a far cry from the powerhouse women of the original series like Trish or Lucia, but her open vulnerability (not hidden behind a “badass” or “evil genius” persona) marks her as the most grounded, tangible character. When Dante finally drops the act in the final 3 missions, he and Kat form a genuine and remarkable friendship built on mutual respect. Kat’s characterization is a radically different take on ‘strength’ in a game obsessed with ultraviolence. It’s refreshing to see a female character treated so well without being put on a pedestal in such a dude-heavy genre. (Villainess and Joan Rivers look alike Lilith gets special mention for being the only humorous character in the game and providing this review’s title)
But ultraviolence is what we’re all really here for and DMC delivers. Dante receives most of his 8-weapon arsenal in the game’s early missions, giving players plenty of time to develop their reflexes as they switch between weapons mid-combo and rake up SSSADISTIC X 7 combos. Dante’s weapons fall into two categories: ‘Angel’ weapons are quick, long range and tailored to large groups of enemies – ‘Devil’ weapons are slow, singular and deal punishing amounts of damage. The commands for each mirror each other, with L2 commanding Angel weapons and R2 commanding Devil weapons. There’s an instant familiarity to the combos that made complex combos easy to pull off. Additionally, new enemies are introduced at a simple, level-by-level pace, pushing me to experiment with new combos but never punishing me for relying on what I’m comfortable with. As a minor downside, the weapons – an axe, scythe, shuriken, sword and boxing gloves – aren’t nearly as imaginative as Devil May Cry 3′s Electric Succubus Guitar, but are a delight to watch in action.
Combine this with the real star of DMC – the art direction, and even I had to put my snobbery on hold to complete the latter half of the game. Landscapes shiver and morph from area to area, perverting and twisting themselves in real time as you play. I’m especially enamored by Mission 14′s nightclub level – it’s visual MDMA, incorporating pulsing lights, clubgoers and dancefloors into level’s design. Similarly, the opening carnival level is both sinister and stylish, covering the screen in shades of black and red, turning the battlefield into a gleefully twisted oil painting. Another impressive favorite – an early boss incorporates the superfluous visual effects of the 24 Hour News Cycle into the level , even breaking into a mid-boss fight helicopter-cam report on Dante, complete with scrolling headlines at the bottom of the screen.
There’s that humor and irreverence from the original series! While much of the game is marred in derivative ‘grittiness,’ (the screaming dubstep soundtrack is especially egregious) the art direction and level design deliver what Ninja Theory promised us all along – something new, distinct, exciting and humorous. Couple that with the well crafted and enjoyable combat and maybe ignore Dante for the first 2/3 of the game and you have a worth successor to the franchise and a top tier action title.
I worked with the fine folk over at anti-bigotry non-profit Gamers Against Bigotry to write this piece on ending bigotry and making the gaming world more inclusive, without falling victim to misconceptions of “diversity.” I like these folks and believe in their cause, so I’m very glad to be working with them! #sortaabigdeal
Gamers holding out for a hero finally have their day in Injustice: Gods Among Us. The brawler features 24 heroes and villains, a complex, multi-perspective story mode and of course – ludicrous, cataclysmic destruction.While the core combat is gold, rewarding reflexes and timing over button mashing, the production values of the cut-scenes seem sparse and the extra-modes are a lesson in tedium but overall, Injustice delivers.
Injustice: Gods Among Us is a fan-service brawler in the vein of Marvel Vs. Capcom or Super Smash Bros, wherein franchise leads come together to wail on each other. The key to a successful fan-service-brawler is the cast. Two months after the game’s release the Facebook page is still ablaze with calls for the inclusion of X hero, Y villain and Z hero’s evil twin from the limited edition 9-copy-only release. While I’d like to see more female characters (always the case with me) all the greats are here – Batman, Superman, Wonder Woman, Aquaman, a few of the Titans (Starfire’s absence is particularly noticeable) and of course the Joker.
The Joker is a key antagonist in the story-mode, though the ultimate baddy is actually Supes. Driven mad after Joker detonates a nuke in Metropolis that kills millions, Superman resolved to end crime by executing both heroes and villains who stood in his way. The story follows Batman’s resistance group known as the Insurgency, with the 12 chapters highlighting different member, before ultimately leading to a confrontation with Krypton’s last son himself. While the story serves well enough, cutscenes are a disappointment. Frankly, they look like a PS2 game and the OST doesn’t produce a single memorable track.
But the heart of Injustice:Gods Among Us – the combat – beats strong. Unlike the hyper-surrealism of Marvel Vs. Capcom or Super Smash Bros., Injustice goes for simpler, more realistic (relatively speaking) fight sequences with a few moments of flourish. The Super Moves (Flash, Doomsday and Aquaman’s in particular) are a spectacle and level-transitions, which occur when knocking an opponent from the ring, are enjoyably absurd. Each combatant also “feels” different, with a different rhythm required to unleash combos. So while Joker requires quick-inputs and a mix of high and low attacks, Deathstroke rewards counters and interruptions and Grundy and Bane chain throws .
Each fighter’s moveset also serves as a faithful characterization. Harley Quinn mixes Pep Rally tactics and mid-range guns, Cyborg mixes Mega Man style energy blasts with boxing-style punches and Catwoman gets up-close and intimate with her claws and tail-whip. I found committing the combos to muscle memory to be somewhat tiring, but a well-placed combo dazzles on the screen. The sound effects, visible damage and screams of pain add great impact to each battle.
If I could ask Gods Among Us for anything it’d be more of what it already delivers. More characters to play during story mode, more super moves, more level transitions – just more. And based on the DLC releases – more is coming/ For a price. But, as far as the base game is concerned, as a casual fan of the DC Universe, I’m satisfied. Not impressed, but satisfied.
Reviewed the puzzle platformer ‘Thomas Was Alone’ over on Square-Go: narrative existentialism, visual minimalism, British witticism.