Devil May Cry Review: Netflix’s Anime Delivers Bold, Character-Driven Storytelling

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If you were a 13-year-old during the early to mid 2000s, you might find the animated Netflix version of “Devil May Cry” video game series incredibly thrilling, even if you wouldn’t openly admit it. This show incorporates Limp Bizkit’s Nu-metal song “Rollin'” as its theme, replicates the Matrix Reloaded freeway chase scene with an Electronic Dance Music (EDM) version of Papa Roach’s “Last Resort” and even has a full rock opera episode with new music by Evanescence. There aren’t many series in recent years that seem less focused on winning over critics than appeasing the energetic teenager inside you.

Interestingly, given its undeniably unsophisticated vibe, the show manages to maintain its popularity amidst a series of television game adaptations that consistently exceed expectations in terms of quality, albeit falling short of the benchmarks set by “The Last Of Us,” “Gangs of London,” and “Fallout.” Despite being intended to evoke the feelings of a pre-teen encountering mature content, its rapid, exhilarating tempo is designed for younger viewers. However, its frequent graphic violence and excessive use of strong language may be deemed unnecessary.

Initially, I found the game series challenging, given that I wasn’t familiar with it before. It’s easy to see why someone might quit after just 30 minutes, especially when confronted with the grating character of Dante, the man-child bounty hunter (played by Johnny Yong Bosch). However, there was something about the show that resonated deeply with my post-Y2K nostalgia, connecting me so strongly to the pop culture of that era that I found myself appreciating a game I’d never played before.

One for the 2000s kids

In an alternate U.S. following the 9/11 events, a demon hunter named Dante finds his abilities in demand from a conservative, Christian U.S. administration. With a vice president (Kevin Conroy in his final screen role) on a quest to prove God’s existence, the emergence of portals from Hell and other diabolical realms becomes both a challenge and an unexpected boon. The villainous White Rabbit (Hoon Lee) orchestrates this situation, justifying it as a solution for overpopulation in his home dimension, despite the chaos and destruction that ensues as creatures pour through to our world.

The show presents a moral quandary, drawing strong comparisons to the heightened suspicion and fear during the War on Terror era in America, offering deeper thought-provoking content than its video game origin. Some vocal gamers might criticize the series for being “woke,” but I believe this is where the unique perspective of showrunner Adi Shankar comes into play, who previously adapted another Japanese game franchise for Netflix with his successful “Castlevania” series. Here, it seems he’s using a blank check to tell a more personal story through the lens of a well-known IP. As an Indian American who immigrated to Rhode Island just two days before September 11, this series appears to be a reflection of the social climate he experienced, where the lives of people from distant lands are precarious due to U.S. forces who distrust them without cause.

Progressive satire or right-wing fantasy?

The intrigue lies in the evolution of Adi Shankar’s political views, which seem to lean towards the conservative side in recent times. This is particularly evident as he was present at Donald Trump’s second inauguration ball. This aspect adds a dimension to the series, as it serves as a thought-provoking allegory for the post-9/11 immigrant experience. The show mirrors productions like “Black Panther” by presenting a struggle between the protectionist viewpoints of its military characters and the more nuanced perspective of a villain whose persuasive arguments for openness might sway you.

The series could be dismissed as a regressive, right-wing fantasy or hailed as a progressive critique of American values. Its strength lies in its refusal to take a clear stance on these ideologies and instead encourages internal debate among viewers without providing obvious moral lessons. I find it hard to comprehend how the writer behind such a project could hold conservative views – his involvement makes the project more intriguing because it’s not what one might expect from someone expressing openly progressive beliefs.

Shankar acknowledges similarities between his animated series, following its 2007 anime predecessor from Capcom, and blockbusters like “Iron Man” and “The Dark Knight” from the 2000s. While he sees Tony Stark’s journey as less relevant to the comparison, he finds “The Dark Knight” a significant reference point for the showrunner, especially as later episodes delve into character-focused narratives, emphasizing that the hero and villain are interconnected. This is a common theme in comic book storytelling, and it’s in this latter part of the season where the creative team effectively adds their unique twist to this trope. This is when we see the mentioned rock opera, the most ambitious episode of the first season, as well as a bold move that I hope continues in a potential second season, with the moral ambiguity now firmly embedded as an essential aspect of the show.

I understand why fans of “Devil May Cry” might decide to boycott the show due to its creator’s political views, but for me, the clash between a seemingly new conservative perspective and the progressive themes from past projects adds intrigue, making it compelling to watch. By the end of the season, there could be more thought-provoking material to analyze than one might initially think, given the nostalgic burst of the 2000s in the initial episodes.

“Devil May Cry” premieres on Netflix on April 3.

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2025-04-03 10:30