#dmc 5 is a lot about the new generation pushing past the stuck-in-the-past old generation and forging a new path forward

[ridgystacis]

imma write down some quick thoughts on narratives as living things real quick

Deltarune has got itself a really healthy narrative, alright? It's thriving, its guiding the path in the background, tangible yet invisible. It's the ferris wheel scene for Noelle and Susie -- a convenient set-up marks the deft hand of fate moving to direct the pieces and roles into their correct places, narrative framing, art. Its vigor is its emotion, the satisfaction one feels and it fuels within a desire to live and experience with it. You can feel it within every sequence, the warmth of a song for you.

And then you got the narrative in something like Devil May Cry 5. This narrative is rotting, full decay. The characters must play roles that don't fit them, it's oozing and slippery and they fall into patterns, moving further along with no ability stop what is mundane now. It's later seasons of sitcoms, stories repeating again and again except that it's not a cycle, it's a spiral, and it's been spoiling this entire time. Why do Dante and Vergil have to fight? It's because they're the protagonist and antagonist of an action game that refuses to ever let them die because it has one story it wants to tell. As the narrative dies they corrode with it, continuing to play out their roles and awaiting to be fossilized in them.

so like, games where the narrative is a living, breathing thing am i right?

[breezeinmonochromenight]

Eh, fuck it. I’m goin’ in (by request). 

In head actual canon, Vergil is written as a quintessential anti-villain, but later on also displays quite a few of the traits of a Byronic hero.

Anti-Villains usually have mostly good, well-meaning, or reasonable end goals (e.g. seeking power to protect themselves). However, their means of getting to those goals are pretty dark — usually anging from undesirable to evil. Alternatively, their goals may even be selfish or have long-term consequences for others that they don't care about, but they usually do have some good in them and would typically team up with the hero if their goals/means to achieve those goals didn't conflict with those of the hero or the hero’s ideals. (e.g. totally kill Arkham for being a traitor and a clown - not necessarily in the correct order - but still want to use your fancy new rotating Monopoly property to gain unspeakable power).

Byronic Heroes have strong passions regarding their ideals, but are nonetheless still deeply flawed individuals who may act in ways which are socially reprehensible because it is contrary to mainstream society’s beliefs. Byronic heroes are on their own side and have their own set of beliefs that they will not bow for. They will not change those beliefs for anyone. A Byronic hero is a character whose internal conflicts are heavily romanticized and one who ponders and wrestles with their beliefs and the struggle that comes with those beliefs. Vergil does exactly this by being a jade-colored glasses type cynic that has a dark and troubled past that he was shaped by. He even has the romantic element of this trope in the form of the mysterious tryst that produced his son.

Both of these are well-used tropes that can be used to add a lot of dimension to a character. And in this case, it is, and this is why people are interested in Vergil. The writers of DMC have pretty much stuck to this characterization to different degrees to reflect Vergil’s experiences — with him going from a straight-faced, no-nonsense, arrogant teenager with a ton of repressed emotional baggage in DMC3 to a slightly softer, more sarcastic version of himself in DMC5 that’s willing to win the age-old rivalry by default... a thing Vergil would never have done in DMC3. Ever. If one was to actually shut up and pay attention, they might pick up on just how big a deal these tiny little changes in behavior actually are as emotionally repressed as Vergil.

In the canon script, Vergil is actually a bit of a fucking brat in DMC3, and does not really give a shit about anything except his pursuit of power, and he pays dearly for the decisions he makes he makes as a jilted teenager at the end of the game. He cares about only himself at the beginning of DMC5 because he is finally fucking free of his Nelo Angelo prison, but he is dying and he is desperate and desperate people do desperate things. 

Whenever I see a very daft woman-child with clearly lot of hang-ups attacking people in fandoms and screeching nonsense, I often wonder ‘what went wrong?’. A weak sense of belonging is correlated to depression, and groups with shared interests, more often than not, do wonders for mental health. I also notice that women-children like this tend to make fun of other women and men (and they are men if they are in a certain age range - 18+ generally - manhood is not defined by who they are attracted to) and non-binary folks for ‘fawning’ over a character, I wonder just how fucking deeply sexually repressed you have to be in order to be this angry over other people expressing affection/shared interests in a fictional person.

I’m reminded of the time they mentioned those 3 background characters ‘fangirling’ over Gaston from Beauty and the Beast, because he was traditionally handsome guy and they, like the first time viewer, didn’t know just how awful he actually was. This doesn’t really have anything to do with the original topic, at all, so I also find myself wondering this person is projecting their anger issues onto random fictional characters again, and why they seem to have such a grudge against women or anyone they feel is completion/threat.

I’m also reminded that they clearly don’t understand Fight Club, either, or they wouldn’t be emulating Tyler Durden and using snowflake to describe both real people and fictional characters. They would get that the movie is a warning against hyper-masculinity and that, in calling things ‘snowflake’ in true Tyler Durden fashion, they create a very special type of irony where they externalize an idea about not being unique in order to create their own unique identity in opposition. 

I also wonder why they mention the whole Punisher thing at all, and just assume they’re raging because because their Twitter got suspended for death threats to politicians/harassing game devs/getting destroyed in political debates by actual fucking racists and Neo-Nazis that should have been fucking cake to clown on, because all this person can do is spew the same 5-7 insults and threats despite these people being legitimately horrible people. Then I move on, because this is all fucking ridiculous as is, and I realize that my thoughts are already gonna be long enough.

Lastly, I wonder what clown fuckers and monster fuckers have to do with Vergil in this context? Like at all? Regardless of my own personal preferences, I only see someone who is angry over other people’s sexual preferences and attraction because they don’t understand their own and going off on weird, unrelated tangents because of it. It makes me wonder if they would be angry if I expressed interest in space Nazis who are not attractive by conventional means and go about being complicit to mass genocide on a planetary scale while also actually committing patricide?  

Christ on a Bike.

*Sigh* I have to do all the heavy lifting, don’t I?

Might really is everything (to Vergil, because he sees it as a means to an end and the only to avoid being hurt again). And he takes this way, way too far and pays for it dearly.

Some people are too arrogant and too stupid to look past their own nose* and try to understand that people can make cataclysmically stupid decisions when they get pushed too far into a corner and see no other way out.

The way I see it, Vergil and Dante were already abnormal children that had a severely fucked up childhood — one that was defined by a horrific event they experienced from two separate, very different perspectives. Children are incredibly impressionable and their brains are like sponges — I could not imagine being scared and alone with something after me and having no one come look for me. It would scar me no matter what the explanation was. It’s reasonable believe that a 7-8 year old child who experiences something like that would grow up looking for a way to ensure it can never happen to them again, all while festering feelings of jealously toward a sibling who was shown (inadvertent) partiality on top of anger/betrayal because they didn’t understand why mom didn’t love them enough to come help. Kids can’t process trauma like adults, and this kind of shit mentally fucks children up in the real world for a lifetime. Traumatized minds don’t just ‘bounce back’ from something like that when given new evidence on a traumatic event — brains function like computer processors, but they aren’t just fixable like them. I’m sure if one was to actually look, they might actually see a fairly poignant message in all this.

People who are too arrogant often turn out not to be as smart as they think they are. If you’re excessively confident in yourself, you’re not going to listen to other people. (Note: Good job! this is ironic as fuck but the one line I didn’t have to edit!)

The only time Vergil smiles (& it’s a small, but genuine one — a grimace is literally the opposite of a smile and involves a frown, clenched teeth, etc.) is when he’s fighting Dante. This is because it is something he finally knows again — something that’s not part of a ~20 year long personal-made hell inside a suit of Angelo armor. There’s no real heat or tension in their DMC5 fights, and it’s comforting thing for both of them. Judging them for working out their shit this way is moronic because a.) they’re half-devil and don’t follow human social norms and b.) it’s a work of fiction anyway, you fucking numpty.

We don’t know if Vergil has remorse for the events he’s involved in because Vergil would not outwardly show remorse for raising the Temen-ni-gru or Temen-ni-gru 2: Horticulture Edition — that would be out-of-character for him. Any fan of the series should know this. However, if V is anything to go by (and he should be, because, y’know.. 👀), then yes, Vergil likely is remorseful.

The Abusive Parents trope is played with between Vergil and Nero, both with the loss of Nero’s arm and Vergil’s involuntary 20+ year absence because of his ownstubbornness and destructive decisions. Vergil did not know he even has a son and is emotionally constipated anyway, and Nero’s a hair-trigger hothead that wears his heart on his sleeve more than he is (probably even) aware of. Nero’s probably gonna be way too similar to teenaged Dante for Vergil’s tastes, and they’re gonna clash a lot, which creates drama intended to be entertaining for the audience.

Nothing says “I have fully missed the point” and “holy shit what went wrong in my life?” quite like someone arguing the same poorly researched 5-7 takes they have been arguing for like 6 months now on multiple social media sites. 

I saw this one Youtube commenter a little while back and I almost spit out my drink... I knew some people that didn’t like DMC5 were obsessively angry to the point of being totally fucking mental about people liking the game, but arguing in YouTube comments? Holy fucking shit that is another level of feral (and not the fun kind). I’d describe this person as a “cuck” or “bootlicker” but then I realize I’m not like 12 and don’t say the n-word on Xbox live, and that those insults don’t make sense anyway.

And this confusing shit, making me wonder what fucking game this person was playing?: 

If one is going to use a quote to end something, like, say, a legitimate character critique that is not steeped in the bias of their opinion, it makes the most sense to use a quote from something/someone like an objectively important literary work or author. Since Vergil is a Literary Boi™ and there may be “sci-fi / horror fangirls” reading this, I’ll throw a bone out to ‘em (since we’re at the end of this dog walk) and use a quote from Guy de Maupassant’s Le Hora et autres novelles fantastiques:    

“A sick thought can devour the body's flesh more than fever or consumption.”

For the unfamiliar: Guy de Maupassant (1850-1893) is often considered the father of the modern short story, and used pessimistic and disillusioned terms to depict the lives and destinies and interactions of the people and society as a whole in his stories. His short stories Le Hora and Diary of a Madman inspired the 1963 Vincent Price horror movie of the same name as the latter. Maupassant’s later life was heavily characterized by self-isolation and paranoia, and he penned his own epitaph before he attempted to slit his own throat with a letter opener and died in an asylum at age 42:

“J’ai tout convoité, et je n’ai joui de rien.”

I will let whoever reads this translate, and think, on that. 

—

(And no, no sources cited section because I’ve never been a particularly religious bitch.)

*It’s an idiom, don’t even try to spin that shit as anti-Semitic you absolute fucking loon.