Compilation of moments from Deadly Fortune that make me want to whisk Nero away to therapy:
I think the game does a good job at showing this too, but Nero truly does have a startling lack of self-esteem and self-confidence. Although he presents himself as angry and almost arrogant, we know this is just a cover. While Nero pretends to be confident, he's actually deeply insecure and seems to harbor a certain hatred for himself as well, which is just reinforced by many of the adults in Fortuna treating Nero as subhuman. Their dedication to bullying, harassing, and demeaning a child needs to be studied. But all of this feeds into him wanting Dante's acceptance, attention, and stamp of approval. Though they start the game as adversaries (well... Nero viewed Dante as an adversary, Dante just saw Nero as the child he is and ragebaited him lmfao), Nero comes to view Dante as 'cool' and thus secretly wants Dante to view him as cool too, a desire that only deepens Nero once he discovers that he may be part-demon and thus Dante would be the only other person Nero knows exists that would be like him-- but they save exploring that angle mostly for DMC5.
Without further ado, roll the torture:
Despite eventually going on to save the whole fucking city, Nero doesn't view himself as a hero, and he doesn't get assigned to team tasks because he's "not a team player" (which was code for any time Nero got paired up with someone, they'd lose sight of the mission because they were so busy harassing Nero, so Nero gets punished with doing the Order's dirty work aka being forced to execute people who 'failed' the Ascension Ceremony and thus were 'possessed' as we see later in the novel.)
Nero 🤝 Vergil 🤝 blaming themselves for "not being strong enough" to protect their loved ones despite them being children. Bonus mention of Nero being bullied... again!
The dehumanization of Nero extends so far that he comments on the fact that he was named like how people name stray puppies or kittens. Now Nero doesn't dislike his name, but it is interesting to me that he recognizes the way it came about was akin to the way animals are named.
Nero thinks it would be "just" if God wanted him dead!!!!
Nero admires Kyrie, partially because she was kind enough to smile at "someone like Nero"
Nero didn't like Fortuna because he didn't feel like he fit in, but he stays for Kyrie.
He's quite literally fighting for his life and has been essentially kidnapped, and contemplates asking Dante for help, but then decides not too because a. it'd be too embarrassing and b. he doesn't want to "dump his problems" on Dante
He thinks his adoptive parents adopted him not because they loved him, but because he looked like their religious figure, and doesn't know why they would care about him outside of that.
I had to narrow it down to a select few because honestly both part 1 and part 2 of the novel are a goldmine for Nero being incredibly self-deprecating and just casually mentioning being bullied, harassed, abused, etc.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality
Anya is LIVE right now
FREE
Free to watch • No registration required • HD streaming
I've known for some time that the name "Nelo Angelo" looks the way it does because it's a latin/katakana mistransliteration of the Italian phrase "Nero Angelo", but I've also read recently that the name "Sparda" is most likely also a latin/katakana mistransliteration of the word "Spada". And while this is a good Doylist explanation for why the characters are called the way they are, the whole thing is calling for a Watsonian explanation that the demons, by nature, for some inconceivable reason, are just really, really bad at spelling
do you guys think dante, vergil, and nero actually call their attacks (e.g. high roller, stinger, judgement cut) by the names we know them as in-universe?
like, we’re all familar with the way dante announces his style skills out loud (“royal guard!”) like a fuckin goober, and even nero calls out “double down!” when he performs the move with a high enough exceed gauge so the two of them have a precedent for naming their attacks, but vergil never calls any of this moves out
all that to say, i think it would be really funny if they were all on a job together and mid-combat, dante goes, “vergil! come judgement cut this guy!”
and vergil just squints at his brother like he’s lost the fucking plot
So obviously, I don't think Dante is an idiot. I kind of resent the fandom depiction of him as such bc it does kind of feel like falling for a bit...
Like I think he primarily comes across as Intense. When he walks into a space, when people are confronted with the physical reality of him, he's huge and dangerous looking and he takes up all the air in a room. And the gay cowboy-surfer-rocker act he does is what he does when he wants to put people at ease. This is to say personally, in private, when he is not being observed, there is something genuine to his mannerisms and aesthetics -- like he does think rocknroll is cool, he does have an affinity to the western-wildwest-lone cowboy ethos -- but the performance of it is performance.
He talks like that bc it puts people off their guard. He dresses like that to give people something to look at, if they're gonna be staring at him anyway. He's flamboyant bc being ashamed wasn't making anything easier for anybody, least of all him.
I think this is in contrast to Vergil who dresses and comports himself as he does in a desperate attempt to protect his dignity. Like genuinely, he thinks this is what dignity looks like. This is his best approximation of how to signal "please respect me", and part of that is "please leave me alone".
They're both shy, but Dante's been around the block enough to know that being who and what he is is always gonna draw attention, whereas Vergil is still trying to do what he can to hide.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality
Anya is LIVE right now
FREE
Free to watch • No registration required • HD streaming
You are a man who lives in the small town of Capulet City. You are unremarkable, in every positive way that word entails.
You don’t like to stand out. You don’t like causing trouble. You grew up in a city that is consistently ranked nationwide among the least safe places to live in, in spite of being a quarter the size of Manchester. It has a bad reputation. It has worse people. That reflects in how you approach everything in your life.
Turn around. Mind your own business and walk.
You know there are freaks out there who believe there are demons in this world. You know there’s more of them here than there should be. You don’t care. When a conspiracy video crosses your feed, you watch it with the healthy skepticism of a sound man, and then you scroll without engaging, pushing what you’ve heard out of your mind. A hundred tastes for a hundred people. You’re not one to engage, unless it involves a solution to your mortgage.
There is one freak who always stood out in your mind among the rest. Possibly because he is present in your life the most.
He is a man who runs his own shop, out in the slumps of the city. A household weirdo. Every town has the one, though Capulet’s seems somewhat more lovable than the average. He always stands out.
He wears a long red leather duster even in mid-summer, during the most scorching of heats. You don’t remember his hair ever being anything other than pure white. Maybe he has albinism? You don’t know much about that kind of thing. Sometimes, he carries what looks like a sword on his back. Your personal theory is that it’s a prop, carried for some strange sort of power play. He doesn’t move like it weighs anything, even though it is practically the same size as you are. Either way, you don’t remember him ever holding it to anybody’s neck, so whatever.
He carries too. But on that front, he doesn’t stand out. The better question is: who wouldn’t carry in the slums of a city like Capulet? You think you remember him helping your neighbor move her new sofa up the stairs for a twenty once, as you watched from the sidelines, relieved you weren’t the one asked to help. But that was years ago.
Other than that, you don’t tend to see him around much, with the exception of the local diner and around 13th Avenue. That’s where he likes to hang out, or so you think. You really just prefer not to think about him at all.
You don’t talk about it, and really, you think you’re just being an idiot when you linger on the idea too much. But there is something about him that creeps you out. Once you notice that there is never a single drop of sweat on his forehead, no matter how hot it gets, it's like you couldn’t stop noticing more.
Every time you see him, and thank God that’s not too often, he is always the same amount of disheveled. Same posture, same level of grime. He never looks “under the weather.” You’ve never heard him cough or sneeze, or speak in a voice any more scratchy than his usual one. He never has a bandage from a clumsy mistake. He is too tall. His muscles are too pronounced for just a local freak. You’ve never made direct eye contact with him, but you’ve always felt his eyes are too blue.
Sometimes, he walks into the diner while you are already sitting in a booth, drinking your morning coffee. He smiles and chats with the pretty waitresses. You tilt your head down, focusing on nothing but your phone or newspaper or coffee. You feel a little sick whenever you hear him laugh with them so loudly, as though he is putting on a performance. You never once caught his attention, and you were happy with that.
It was just your luck then that one time, while you were running through 13th Avenue to catch your bus from work, it was him you had to collide with, through no one else’s fault but your own.
You were rummaging through your wallet, counting spare change, just as you turned the corner at the same time he did.
You will never forget the feeling of expecting an uncomfortable tumble, soft muscle and ribs against your own, and instead being met with an impact that felt like running into a concrete wall. Your shoulder immediately stung. Your teeth clapped together from the force. You stumbled backward, and before you could fall, he gripped your wrist and steadied you with a single tug. His grip wasn’t hard or painful, but it was steadier than anyone else’s you’ve felt. Certainly, not like that of a man who should have been just as staggered as you were. Mockingly telling you to watch it, he scurried around you and continued on his way.
It was then, while you sat on the bus home, that you decided it would be best to avoid the man in the red coat altogether. It is harder to explain away the lack of applicable laws of physics than you are comfortable with.
You kept your head down. You learned to avoid 13th Avenue on your way from work, and you started visiting the bistro instead of the diner in the following years. It became part of your routine. You barely even think of the reason anymore. And whenever you happen to run into him anyway, you make sure to cross to the other side of the street. At the end of the day, you probably only freaked out. It probably happened differently than you remember anyway.
You trust the voice in the back of your head telling you to get out of his way, nevertheless. You’re happy.
Except you live in Capulet, and Capulet is a cursed city. Has been for at least twenty-five years now.
That curse falls upon you, too, once, after all these years. One day, you wake up to the horrible sound of walls breaking and an animal unlike any you’ve ever seen rampaging through them.
You’re a normal guy. You don’t fight. You don’t play hero. You grab your phone from your nightstand and sprint out the front door while already dialing the police.
A gas leak, the authorities say, later, as you sort out your insurance. You would have accepted that easily enough. Except ever since you returned home after that horrid night—
your home doesn’t feel right anymore. You double and triple-check your locks each night. You buy window shutters.
You still can’t get rid of the feeling of something watching you through your walls. At night, you hear scratching.
You tell your family about it. Friends. Coworkers. You don’t know what to do.
Finally, a man points you to a shop on 13th and 66th Slum Avenue. They handle exterminations better than anybody else, he says. Years ago, they helped him with a rabid animal problem too.
The walk to Devil May Cry feels like a walk of shame of sorts. The neon sign you always used to see on your way from work is still there, flickering as always. When you walk in, the man with the red coat is there too, of course.
You’re terrified. The threat in your house feels more tangible than the sick feeling you get from looking at him for too long, though. When you explain your problem, he smiles at you with teeth that are too sharp and tells you it is his specialty.
You walk him to your house. He whistles, which you find jarring. He talks to you about the weather, the bakery in the town center, and his favorite dessert at the diner, and you find that annoying.
“Gimme ten minutes,” he says when you reach the house. “If I don’t get back by then, wait for me and buy yourself some coffee across the street.”
He doesn’t come back in ten minutes. You go across the street and drink a single coffee for an hour. When he returns, there are darker splashes of red on his already too-red coat.
“All clear,” he says from the booth across from you. “You had a real nasty vermin problem in the crawlspace. Won’t be coming back.”
You’re glad he says it. You’re gladder still that he didn’t go into details.
It is reasonable that his coat is darker. There was probably leaking water in that crawlspace. He smiles when you ask about it, and you smile back when you realize his sharp teeth and bright blue eyes don’t seem that important anymore.
You start taking 13th Avenue home again. The buses got rerouted, you reason. It is logical to take the quicker way home.
You don’t talk to him when you happen to meet him. You offer a stiff nod and mind your own business. Sometimes, he nods back. You carry his number in your wallet now, just in case.
You’re happy he is willing to help when someone has a vermin problem.
—
You are a man who lives in the small town of Capulet City. Coincidentally, you have a family in the nearby town of Red Grave, no bigger than Manchester either. Red Grave, after all, is in proximity to Capulet. You love visiting your family whenever you can.
When the Qliphoth was raised, maybe you were visiting then, or maybe you simply ventured too far east of Capulet and got caught in the crossfire.
You’re not a hero. You’re not a fighter.
You’re not a survivor either.
You are unremarkable in every sense of the word. Your name was buried beneath the rubble alongside you.
Would it have helped you rest if you were told that sometimes, the man with the red coat whom you started to trust feels a sharp stab of guilt in his chest, right before he turns to smile at the man who killed you?
Even if you were told that, among the onslaught of names, yours is just another forgotten one on the list?
Let's take a bit of a closer look at some of the mechanics of Dante's and Vergil's respective boss fights at the end of DMC5.
For those of you who don't know, these are both moves that the characters can hit you with while playing against them, as well as something you can perform while playing as them. Right away, the difference between the two attacks is stark.
Vergil follows a very specific sequence.
He jumps for a longer duration of time than the actual attack takes. He hovers in the air for a fraction of a second, then, gathering strength, steadying up his hands, or perhaps thinking of the best trajectory Yamato can take, so that its cut is at its sharpest. Then, he cleaves down. One straight line, less than a second long, and a clean cut. His sheathing of Yamato is ritualized.
Dante side flips, spawns a motorbike-saw into his hands, throws the enemy into the air, and then juggles him while spinning wildly.
Yeah. It's pretty obvious. What really isn't so easily noticeable, though, is this: when you get caught in both of these moves separately? Both Dante and Vergil take approximately the same amount of HP away from the player, just in a different way.
Getting caught by Vergil's attack is painful, punishing, and groan-inducing. He can and will take a quarter of your health away if you play on a higher difficulty, and then doesn't give you time to recover from it. It's potentially fatal.
If I had to use one word to describe getting caught in Dante's sequence, though?
ANNOYING.
Vergil takes a whole bunch of your health bar away. Alright. But what can you do. Dante?
Dante stunlocks you for five seconds straight while chipping away at your health slowly, piece by piece, as though to add insult to injury. You can not break out of it. You're just forced to endure while he styles into your face.
Truly a great immersion mechanic. 10/10. If this isn't what fighting Dante feels like, then I don't know what does.
That's not the only thing I have to say, though.
One thing that I find extremely interesting about both of these boss fights is that, just based on what we know of them, one might believe Vergil's boss fight would feel quicker, right?
Wrong.
In my experience, it is actually Dante's that forces you to think fast and move quickly. Why? Well, aside from the obvious reason of Capcom wanting to make him actually challenging for Vergil's playstyle, I believe there is a deeper one for it.
If you look at the two clips above again, the most important factor for this particular difference is obvious. Vergil, before striking down, lingers in the air. Dante flips - and you have no way of predicting what exactly it is he'll pull out of his pocket next.
The game isn't telling us: "Dante moves quicker than Vergil".
The boss fight is from Vergil's point of view. The reason why Dante's fight seems quicker is that Vergil has no idea what Dante might do before the very second he does it.
While they have definitely gotten stronger, Vergil's attacks haven't particularly changed ever since DMC3. And Dante? Dante knows that moveset inside and out. That's why, when fighting Vergil, we "see" him linger in the air. Perhaps it's just as quick as his jump was: slowed, we just see it the same way Dante does. An indication of what Vergil will do next.
On the other hand, when fighting Dante atop the Qliphoth, Vergil doesn't know his brother has a saw-like motorbike, a double rocket launcher, or a magic hat. He doesn't know if Dante will choose to trickster-dash away or strong-arm a hit and send it right back. How could he know? Dante does some new weird shit all the time!
That's why their boss fights work the way they do. It's their literal "master a thousand different weapons" and "master your weapon a thousand times" philosophy at play!
It really is neat to see how well their personalities project not just into how they fight, but also into how YOU have to fight against them.
Dante selling his leftover Devil Arms seems to be a fact that's widely accepted by the fandom, and it would make sense on first glance for how he carries himself and his money. Only, as always, things aren't as simple as that with our favorite red clad devil hunter, to say he sells them all.
So, let's talk more about this!
We know that Dante rarely has the same weapons load-out between games, always starting with a simple sword and guns (and maybe one or two others), and then collecting more and more weapons as the game progresses. Makes sense from a gameplay standpoint, but it does beg the question: What does he do with all those Devil Arms? At this point after all he has quite the collection and we don't see many we know of displayed at his shop.
Answers in that regard can be found in a rather obscure source, namely the radio dramas that were released with the same cast as the anime. In Vol 1, we come face to face again with Enzo, Dante's main broker before Morrison came along, and we find out what happened to him after we last saw him in the dmc3 manga.
Apparently he up and opened up his own pawn shop (focused on demonic stuff) after a bad encounter with a Devil Arm gun that... well it tried to fuse with him and the only way to save him was to cut off his actual arm. Which Dante did, but in typical Dante fashion he felt responsible for it, and he since then aims to make it right by going into debt with Enzo so that he could regularly pay him money.
A very familiar strategy, one we've already seen happen with Grue's remaining daughters as well as maybe in a way with Lady.
But here's the important part: As collateral to this debt Dante gave Enzo his Devil Arms. By the looks of it almost all of the ones he had at that point! In the course of the story of the audio drama, we see familiar weapons like Ifrit, Cerberus and Alastor, which are from both the dmc1 and dmc3 load-out (and the anime takes place in between dmc1 and dmc2).
So Dante hasn't truly sold his Devil Arms, they've just been pawned off, and that solely to Enzo. The only true mention of selling one of these devilish weapons is this here:
Poor Agni and Rudra. They are the only exception we currently know of, but even then, they haven't been sold further either. They're still at Enzo's place, just openly on display in comparison to the others, though Enzo does also have other Devil Arms that don't belong to Dante there. And he also specifically mentions in between how he wished Dante would sell him more of his weapons.
So yeah, selling Devil Arms really isn't Dante's usual it seems like. And this arrangement he has with Enzo looks to me as if he's killing two birds with one stone.
On one hand he's able to give Enzo money regularly, looking out for one of his oldest companions and also alleviating his guilt for the disarmament he was forced to execute.
On the other hand, Dante is able to store a lot of his dangerous weapons out of the way in a rather hidden warehouse store, a place most people who hear of him probably won't immediately go to look for his powerful tools. And since it already houses a collection of Devil Arms, it probably also has quite some measures to keep them all safe.
It is rather rare for him to check those pawned off Devil Arms out for himself, but we have one other instance of him using one of his old weapons again, and that was in the dmc5 novel where he used Cerberus to fight Balrog.
He also does keep some Devil Arms at his place, as mentioned in the dmc4 novel.
Overall, there's as you can see not much mention of him truly selling his old weapons, except for Agni and Rudra, and that does make a lot of sense. Devil Arms are after all quite dangerous, may it be in the wrong hands, or them sometimes having the intention of consuming their wielders. Dante can use them because of who he is, a powerful cambion, but that's not true for other people. I mean, Trish even says she leaves to find dangerous Devil Arms and keep them out of human hands!
So Dante certainly also wouldn't want his old demonic weaponry to float around and cause more harm, as well as give Trish more work. Agni and Rudra might be the exception here because, let's be honest, they are rather tame in comparison to most other demons. And friendly towards humans to boot, as seen in this funny scene with Enzo:
They absolutely enjoy being able to engage with others, so they really are a good choice to sell I think. And even then, Enzo still has them in his shop, so it's not as if they've gone far yet.
It's probably only the more recent, or the really strong and dangerous Devil Arms that Dante keeps close in his shop. In dmc5 that seems to be the case for Balrog, who is still conscious and also swore to only remain a Devil Arm until he got strong enough for a rematch... The others, well, Enzo is probably where they're at, as part of the collateral.
Anyway, I hope this gave a better overview of what Dante's Devil Arm situation actually looks like. As far as we know he's only sold one, and it, as well as the others are still close at hand for him. So it wouldn't be completely truthful in my estimate to say that he just sells them all off.
Allow me a moment to gush about the cinematography in DMC for a second
Because let me tell you, one camera shot just sent me on a whole journey
I was combing back through DMC5 and Visions of V in search of references for Dante and Vergil's childhood home. So I was playing through Mission 12, taking screenshots, seeing all of the things I could see, and something stuck out to me. Dante is walking through the front entrance of the house, and the camera cuts to this shot here:
Huh. Now haven't I seen a shot like this before?
And it's not just any closet in the first screenshot. That's the same closet Eva hid him in. If you look, you can see some of the same architecture visible in both shots. On the left is the same marble column, and on the right is a twisty wooden pillar that's visible from several other in-game shots. So while it's a cool and interesting shot, it's also doing something very important. It's calling back to the last time Dante was here. It's a subtle reminder of the trauma this place holds for him, all told to the player without a single word
Now that's cool enough on its own, but then that got me thinking... where is that closet, exactly? Because I'd always been under the impression that it was deeper in the house somewhere. But actually, I realized I'd seen it as Dante was entering
(See the twisty wooden pillar I mentioned before?)
It's right next to their front door. You can sort of see a sliver of light from outside on the right of the screen as Eva is running to find Vergil, if you look closely in the mission 10 cutscene (sorry for the potato quality, Dante jerks his head away just after this so you only see it for a split second)
And again, you can see the wardrobe right next to the door as Vergil walks in, prior to the events of the story
So let's talk about the domino effect this had on my understanding of what happened to the twins when they were eight
I never got the impression that Dante was physically harmed by the demons in the same way Vergil was. While Vergil was physically eviscerated, Dante's trauma always seemed to center around the experience of watching Eva die (and believing Vergil had died as well). But then how did the demons never find him? I'd assumed it was because the closet was somewhere deeper in the house, so maybe he was able to hide long enough to find an opportunity to escape. But actually, that closet isn't tucked away somewhere secret. It's right by the door. It'd probably be the first place anyone would look. I don't believe the demons would just give up on trying to kill him, since that's literally the entire reason they're here. So what gives?
Going back to the scene from mission 10, it seems Eva was killed almost immediately after she ran outside. She's barely off screen for a moment before Dante hears her scream.
The fire seems to have been set from the outside, too, unless they had the most fireproof furniture in the universe.
This is, what, 35 years later? Not only is it still intact, it's still white somehow. If you watch this cutscene everything seems to be lightly singed at worst. Considering their house looks like this at the end of Visions of V chapter 25:
I can only assume the fire was actually mostly outside, or at least, it hadn't spread inside to the front entrance where Dante was hiding.
Based on that, it's my guess that the demons hadn't gotten into the house at all. I don't know if they'd be smart enough to try and smoke them out with the fire and then strike when they tried to run out, but it's possible that they were, and that was the tactic for getting to Dante. They wait outside, Eva and Dante run out, boom
But you know who else was outside at the time? Vergil.
He's on his way back to the house when he summons Yamato for the first time
You can see in this page, after they think they've finished with Vergil, the demons turn to approach the house (likely looking for Dante and Eva). Vergil summons Yamato and tears through them all as he continues fighting his way back to the house
So how did Dante get out of this physically unharmed? I think Vergil unwittingly protected him. He killed all the demons, or at least enough of them that Dante could have found a good opening to escape, before he fled.
And then one last thing hit me.
That wardrobe is right next to the front door.
They were probably less than twenty feet away from each other in this moment. If Vergil had stayed and looked, or if Dante had known to call out for him, they could have at least avoided the trauma of losing each other
I find the design choices for Dante's and Vergil's SDTs extremely interesting for many reasons but this one I don't often see people talk about.
Look at both of these pictures separately and tell me.
Which one would you say visually resembles the king of hell more?
Now, I know that the collective perception of Hell = lava and fire plays a role here but I know for a fact that most of you would have instinctively picked Dante. And funnily enough, I have reasons to believe it's not just because of the colour scheme. In fact, I think it was the designers' intentions all along.
We have Vergil.
His body is sleek and smooth, protective armor points downwards and he holds his wings close to his back. Everything about him is perfectly poised, even the energy he emits holds shape, bending physically to his will. He looks like his whole body is meant to cut.
Vergil's whole body is a weapon taken shape.
And then, to contrast all that we have Dante.
He does not hold himself at the ready and still. His body isn't sleek. He looks like the power within him is rippling, trying to escape by any means possible, tearing him from the inside. His body isn't built to cut across space in a blink; it's meant to take up space.
His body is an exertion of dominance.
Now, we could look at all that purely through the control lens; Vergil has always been more in touch with his demon side than Dante was. Of course his SDT form would be more controlled, while Dante's would be more beastly.
But I think there's a deeper reason for it to be found.
Throughout his life, Vergil never wanted to rule. He wanted to have control over himself, enough so that nothing could ever hurt him again. That's why his SDT looks like a blade manifested, instead of the immovable powerhouse that Dante is. Secretly, he never wanted to be the strongest; he simply wanted to be a master of himself.
And as for what Dante wanted his whole life? To be a shield for those he was close to, so that no one would ever have to die because of him again. But for that, he had to be strong, stronger than anybody else out there really is. And the only real form of power that demons respect is the loud, overconsuming one.
Their forms mirror each other in many ways but this one is the one that neither wanted. And I think that the biggest visual evidence of that specific mirror are their horns.
Almost his whole life, Vergil has pretended that he wants to be a king; ultimately, he is a knight.
Dante has never wanted anything more than to be a knight; in order to be that, he needed to become a king.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality
Anya is LIVE right now
FREE
Free to watch • No registration required • HD streaming
We’ve all talked about how a DMC6 would probably ruin the conclusion of DMC5 for the sake of dragging out and milking the series. Of course, I think the best alternative is making prequel or spin-off games (NO PACHINKO MACHINES). And we’ve all thought of a Sparda prequel, adapting the cancelled issue of Lady’s story in the DMC3 manga, or just the alleged Girl’s Night Out DLC.
But what if we just made fun stuff for side characters? Cindy diner management sim. Vincent motorcycle racing game. Bradly kissing game. Morrison and Enzo broker game where you have to pick what devilhunters are suited for what kind of mission. Eva taking care of the twins. Nell gunsmithing and shop management. Nero Guitar Hero-like. Vergil learns to cook.
You are now are an intern at Devil May Cry’s Plumbing-Pizza-Detective-Agency. Manage the reception desk, clean the bathroom, and cover up the bullet holes. Patty occasionally visits to decorate the place. Employee benefits? Free pizza every Tuesday.
Hell, even something like the DmC reboot being an actual show based off of Dante’s adventures and you have to manage the cast and production. Post-game is making the Netflix show.
In the world where Vergil defeated Mundus, Hell is quiet.
There might have been overpopulation problems once. Territory disputes, caves filled with vermin crawling over each other's heads, and endless tribal wars. Not anymore.
Their numbers had been cut. Entire species wiped out. Existing order thrown into disarray.
And above it all, on a throne which Mundus once built from skulls and bones, now rebuilt from stone with the precision of a surgical tool, towers the new king.
He hasn't actually occupied that throne much in those first few months. He's been busy muffling the previous noises out.
And now, when each surviving demon has learned to tremble under his gaze, he hardly ever moves. It's as though he has been carved from that stone too; though it is not a good idea to try and use it for one's own gain.
He's unhappy, that king. All of the Underworld knows it too. They feel it always, in the back of their minds.
The attacks on the human world were mostly stopped. They've been ordered to.
Dante hasn't seen anything capable of withstanding more than a few of his bullets for years.
Then, one day, the king chooses to get up from his throne.
And the hole he carves into reality when he does is like a beacon to all of the residing devils. The melody of his sword, which resonates through the quiet, is an invitation. Impossible to resist. A sign that their king has finally decided to give them some of his grace.
What he created is a direct passageway, big enough for armies to pass through. All of the demons who are near enough can feel its presence.
And Dante, over in the human world, does too.
The devil hunter stands there when they gather inside the entryway, a lone guardian to the human world. Like this, right in between where the two worlds cross, he looks more like Sparda than ever. (He looks like Eva too, but the demons don't have a right to know that.)
He hits like Sparda used to as well.
A one-man army, or perhaps a meat grinder. He drives them backwards, right into where they came from. Pushes harder and harder. Pushes enough to step onto their own territory now, as though intending to conquer Hell during his bloody crusade as well.
His presence, when he takes his first step to the other side of the portal, is felt too. And it's a beacon of a kind, but only for one man.
When Vergil and Dante cross their blades for the first time, sound returns to Hell.
The ringing of steel against steel is sharper than any wail. It hurts the ears, but it's nothing compared to the cruel slaughter it leaves behind.
The two brothers battle high above the ground, high enough that no one else can touch them. High enough so that all of the Underworld sees. It's like watching a storm. The hits echo through the Underworld like thunder would. They resonate through the earth the same way. The metal flashing in the air? Like lightning. And instead of water, blood falls down from the skies.
Vergil does not battle their executioner for them. It was their own fault, after all, that they had expected grace from a king who is disgusted by his own people. They all know that now.
And maybe… what helped them realize it is that only now, seeing him battle and shed blood high in the sky,
I don't think that it was as much of a joyous occasion as most would want to believe.
There has never once been a cambion born into this world before, or at least not one that we know of. Maybe it's because demons find humans repulsive enough to not even think about committing such an act with them. Maybe it's because the majority of them don't reproduce in a way that would be feasible for a human. Maybe it is because the human body simply cannot handle the power of a demon in any way, commonly resulting in a gruesome scene of death, better left undescribed.
But Sparda has always been different from most demons.
I believe that once he learned of Eva's pregnancy, he might have wanted to get rid of the fetus as swiftly as he could. The stakes were too high. The life of the one he loved was worth more than the life of something that might have just as easily turned into a monster.
Eva was afraid too. A strong woman by all means and rights, but uncertainty has a way of making each second of indecision feel more and more threatening.
But more so than that, Eva was a woman who also trusted her husband. He, a monster by all means, yes, but still a man she loved, was still somebody who chose every single day to be good and kind, even if he didn't have to be. It was what he was known for. She trusted his will more than her fears.
And that's why she had to reject his pleas to not bear the child. Because she trusted him. And she trusted that if her child had a single drop of Sparda's blood in them, then that would mean they'd inherit his will too. They would survive. They would not let her die. They would choose to be good. And they would grow just as strong as their father and mother were.
Every day of the pregnancy was a trial. Each day the uncertainty grew, and the atmosphere of their home darkened. Sparda threw himself into his work, sick with worry and fear. Even if his wife and child survived, who could have known what it was they would release into the world, which he had so vehemently tried to protect? It felt like a betrayal, even if he did want to believe too. Eva grew more and more determined by the day, even as she could hear a distant countdown of a clock ticking in the back of her mind.
And then the twins were born. And It had drained Eva, perhaps more so than anything else ever had, but the moment she looked into the twin blue eyes gazing up at her, so similar to her husband's, yet so wide, innocent, and human? She knew that she had chosen right.
And the moment Sparda held them in his arms, he knew that he was right to trust Eva too. In that moment, he couldn't imagine them ever being anything less than perfect.
That didn't mean he ever stopped looking for signs of their nature changing, though.
(Ironic. If he had been there that one day his eldest nearly got killed, he would have seen it happen right in front of his very eyes.)
I genuinely don’t understand why the fandom insists that Vergil was madly in love with Nero’s mom. The only time Dante even mentions it in DMC5, Vergil has to stop and think to remember it. The only sexual experience of his life, and it barely registers for him. That alone says a lot.
This woman has no face, no name, no presence in the story, and zero impact on Vergil’s character arc. She exists only to explain Nero’s birth. That’s it. DMC5 is entirely about Vergil’s development, his humanity, and his relationship with Dante—and she doesn’t matter at all in any of that.
I’m not against the ship, but calling it a deep love story is pure headcanon. Vergil doesn’t cling to life because of her, he doesn’t change because of her, and he doesn’t even think about her. The only reason he keeps going is Dante.
You can argue for Dante/Lady even if I don’t like it—but Vergil being in love with a random woman the narrative itself doesn’t care about? I just can’t take that seriously.
I honestly like the idea that she was just a fling much more, than I like any interpretation of her and Vergil having been in any sort of a long term relationship.
Vergil, as he is shown in 3, I can not imagine in a serious, committed relationship with not just a woman, but what's worse, a human.
Vergil, who nearly killed his own half-demon brother, because his weakness terrefied and disgusted him. Vergil, who mocks Arkham for supposedly feeling any sort of care for his own daughter, after having killed his wife. Vergil, who swore he would become the next person people of Fortuna would worship as a God.
That Vergil would not allow himself to feel any sort of affection for a human being, so much lower and weaker than he percieves himself to be. At least I can not imagine it.
What I can imagine with absolute clarity is THAT Vergil, succumbing to a night of human weakness known as desire. Allowing himself to let go, just once, maybe after a trully terrible experience or maybe months of surpressed need. That Vergil, leaving the very moment he can after that, satisfied, yet disgusted. With that woman, with himself, with his own human cravings.
Sometimes, a non-character can expand on a story withount needing to be brought to life. At least that's what I feel makes the most sense.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality
Anya is LIVE right now
FREE
Free to watch • No registration required • HD streaming
