“The mission isn’t new. Take up arms to rid the universe of evil corporations—it’s the story of countless other video games. Big money is the villain because it’s an easy narrative target. Coming from mega-studios listed on stock exchanges, the effect is mostly just pandering. But not in DmC. In fact, DmC’s openness and gusto is remarkable. The root cause of DmC’s rise of capitalism is not only money—it’s depression, stress, and trauma. It’s insufficient minimum wage jobs, the effects of an abusive society in an era of social openness, and dwindling educational resources.
DmC battles these broken societal norms and cleaves them in two, its new Dante more affably sarcastic and, to the affected generation, more relevant. Paired with hoodie-cloaked Kat and her history of family abuse, this video game of demons, overlords and underworld gods suddenly turns intellectual and observant. Dante is a loud protester, but with a sword and guns and a potent solution instead of a sign.”