![]() It's seriously overwhelming picking up Dante for the first time in 4, and somehow there's still another playable character that's even more apeshit (Vergil mode is so much fun I didn't even mind playing through the same levels again). Style switching was also first implemented in 4, turning Dante into the exhilarating aneurysm he was always meant to be. Nero's toolset puts him somewhere between trickster and swordmaster so that approaching enemies and racking up style isn't an issue. 4's combat system heavily improves upon 3's blueprint. With all these drawbacks in mind, DMC4 still deserves a place on the pedestal with 3 and 5 for all that it uniquely succeeds in over its peers. ![]() At the very least this problem is one of the reasons why 4 has the most entertaining cutscenes (or at least tied with 3), since Dante is constantly in his element. What's less forgivably incomplete though is the story, which stagnates into 'Dante does Dante things' and 'Nero cares about Kyrie' during the latter half. It's not like you're just tracing Nero's steps backwards either, so it's more that the level environments are being reused than the levels themselves. What that statement ultimately amounts to is that Dante's levels are Nero's levels in reverse, though the enemy variety is more aggressive to better suit Dante's higher caliber of play. The most damning of these criticisms being that the game is outright unfinished, but don't be mislead by that. More pressingly though, the functional shortcomings of the game have weighed heavily on its reputation as well. The achievements of DMC4 have been pretty thoroughly undercut by 5 turning it into the awkward middle child, and the fact that so many newcomers are starting with 5 certainly doesn't help (nothing inherently wrong with that).
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