Devil May Cry (English)<\/h5>\n

Creator:<\/b> Adi Shankar<\/p>\n

Cast:<\/b> Johnny Yong Bosch, Scout Taylor-Compton, Hoon Lee, Kevin Conroy<\/p>\n

Episodes<\/b>: 8<\/p>\n

Runtime:<\/b> 30 mins<\/p>\n

Storyline:<\/b> Dante, a for-hire\u00a0demon hunter, arrives in New York City to foil a demonic invasion of Earth<\/p>\n<\/div>\n

The Dante we meet here is voiced with deadpan swagger by Johnny Yong Bosch \u2014 younger, broodier, and sporting a few more emotional bruises than his videogame counterpart. But he\u2019s still the demon-slaying rockstar we know and worship, sort of like if Bugs Bunny survived a gothic family tragedy, burdened by a Chekhov\u2019s longsword forged out of daddy issues. This somehow still seems to work because Dante has always been a punchline encased in lore, a walking contradiction of myth and meme. He is cool incarnate, and the show doesn\u2019t try to temper that, but amplifies it to ridiculous extremes.<\/p>\n

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A still from \u2018Devil May Cry\u2019
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\n Netflix\n <\/p>\n

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Shankar roots this hellish fever dream in a New York City that\u2019s grimy, sprawling, and grounded enough to make the carnage feel plausible. Skyscrapers crumble and grotesque hellspawn claw through dimensions, but the real terror is alluded to (quite unsubtly) behind closed boardrooms. What Devil May Cry<\/i> does most cleverly beneath the blood-soaked ballet is slide in digs at blind patriotism, late-stage capitalism, and weaponised zealotry. This is an America on the edge, tottering between literal damnation and metaphorical collapse. And frankly, the demons seem like the more sensible negotiators.<\/p>\n

As for the animation, imagine a pyrotechnics accident choreographed by a metalhead with a grudge. It\u2019s an excessive, disorienting sensory overload that\u2019s impossible to tear your eyes away from. Fight compositions feel like jazz on fire: bullets ricochet to the rhythm of Evanescence, swords slice in time with Papa Roach, and demons scream in agony while Dante flips them the bird. Subtle it is not, but boy, is it stylish. This is not edgy for edgy-ness\u2019s sake, but camp with conviction.<\/p>\n

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Perhaps this adaptation\u2019s greatest success is its willingness to let its main villain breathe. Hoon Lee\u2019s White Rabbit \u2014 a manga-only antagonist given new life here \u2014 is a revelation. He grieves, he rages, he muses on morality with a Cheshire grin. Part prophet, part provocateur, his presence is elevated from mere fan-service to something genuinely Shakespearean. The performance would feel over-the-top if it weren\u2019t so deftly undercut by some real, bruising pathos. Other characters including Mary (Lady), Enzo, and the late Kevin Conroy\u2019s V.P. Baines are given arcs that feel faithful, but also fresh.\u00a0<\/p>\n

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A still from \u2018Devil May Cry\u2019
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\n Netflix\n <\/p>\n

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Not everything lands. Some episodes feel like hangovers from better ones, and the tonal whiplash between action, philosophy, and slapstick occasionally knocks the wind out of its pacing. Dante often feels more like a meme from 2005 come to life and the show leans a little too hard on Capcom easter eggs, as if trying to impress the DMC subreddit rather than build its own mythology. But these are minor bumps in an otherwise sincere effort, because even when Devil May Cry<\/i> falters, it does so with such caffeinated, self-aware chutzpah, that you can\u2019t help but admire the audacity.<\/p>\n

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And so, when Dante revs his motorcycle to anthems from a better, more ironic age, it (almost) never feels cringe. Devil May Cry <\/i>is heavy-metal mythmaking for the age of Netflix, a shotgun of fun to the senses. It may not be high art, but it\u2019s high-concept enough to make you believe that maybe cool isn\u2019t dead. <\/p>\n

Devil May Cry is available to stream on Netflix<\/i><\/p>\n

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