I think the most frustrating thing about Netflix’s and Adi Shankar’s take on Devil May Cry is that it’s almost a great adaptation. It almost understands what makes Capcom’s source material so beloved by millions of fans. It almost gets why Dante is such a fun protagonist. Fun bursts of action, some note-worthy voice acting, and moments that genuinely made me giggle with joy as a fan of the games do a lot of the heavy-lifting here. When you peel back its layers, though, there’s a satisfying, fun demon-slaying show that almost strums the right notes… if a few strings weren’t out of tune.



Netflix’s Devil May Cry largely tells its own contained story following demon hunter Dante on a whirlwind adventure to stop a demonic terrorist called the White Rabbit from taking ultimate revenge on the human race. For an adaptation based on a series where one of the biggest selling points is how endearing of a character Dante is, he has a surprising lack of agency in the Netflix series. Sure, he’s the default cocky protagonist but it often feels like the writer’s hearts were in Lady, who is in the show a lot more than I expected. This isn’t exactly a negative as she is given a lot to do – and I’m sure fans of the character will appreciate the story’s focus on her – but for a first crack at the adaptation, swinging the spotlight between Dante and Lady was an odd narrative choice and it’s easy to see why long-time fans might be upset by this move.



What isn’t lost in translation is Dante himself, who is brought to life by Johnny Yong Bosch – yes, the same voice actor behind Nero in the games. At first, my brain had to adjust to Bosch’s voice, which I attached to Nero for nearly two decades, as Dante but it eventually clicked. He brings enough voice acting experience to the role to differentiate himself in small ways, which is appreciated. Scout Taylor-Compton really shines as Lady, hitting the big emotional notes with conviction while playing up the character’s cockiness and snark that, when contrasted with Dante, makes their dialogue pretty fun, even if it sometimes veers too far into cringe territory.

What isn’t lost in translation is Dante himself, who is brought to life by Johnny Yong Bosch – yes, the same voice actor behind Nero in the games.

Netflix also plays up the violence in Devil May Cry which explodes in grotesquely creative ways. It’s borderline Mortal Kombat, which is odd considering the games, while violent in their own right, don’t necessarily indulge in the violence too much. Honestly, it was fun seeing Netflix take an over-the-top approach to the action because it still feels distinctly Devil May Cry, even with the blood and gore dialled up to eleven at times.



However, this is where some of the problems begin. On the surface, this adaptation of Devil May Cry initially paints itself as a high-octane, fun action romp that doesn’t want to be taken too seriously, as the first couple of episodes remind you. It’s perfectly on par with the bizarre and unapologetically zany elements of the games and when the story shifts gears into serious territory, it still maintains a somewhat consistent tone. Inconsistencies emerge when the show actually tries to dip its toes into social commentary about discrimination, especially from the perspective of demons (you know, the things you stylishly chop up and butcher for five games).

I won’t go into too many spoilers regarding the demon stories, but there are efforts by the writers to make you care about more than just the good guys, attempting to blur lines and inject some real-world commentary into the mix. While I appreciate that the series does try to ground its perceived “bad guys”, the execution is a bit sloppy and feels inconsistent with the show’s upbeat tone at times. It doesn’t gel as well together in the Netflix adaptation as the games’ narratives which manage to strike a very fine line between the two without jarring tonal shifts (well, for the most part, if we ignore Ninja Theory’s DmC).



If you can get on the show’s wave length and go along for the ride, it’s a bit of a bumpy one with moments of greatness that purposefully pulls itself back to give other, half-baked elements of the show more gravitas. Even with eight half-hour episodes, the series feels like it doesn’t have enough time to let its themes, plot and character motivations simmer. This results in an admittedly fun amusement park ride that’s over as soon as it begins.

Even with eight half-hour episodes, the series feels like it doesn’t have enough time to let its themes, plot and character motivations simmer.

When Netflix’s Devil May Cry is at its best, it’s good. Really good. Adi Shankar and team bring their expertise from the Castlevania series in full force here, with some awesome, fluid animation that’s slightly held back by questionable use of CGI. Nonetheless, there was never a moment where the show felt like it dragged. It moves at a brisk pace and keeps a good momentum flowing from one set piece to the next. It helps this is an IP we’re quite familiar with, so it’s easy to latch onto familiar characters, even when the writing isn’t at its strongest.



Netflix’s adaptation of Devil May Cry is mostly a successful one, though it still has a lot to improve on. The tone can feel a little inconsistent at times and there are a few cringe-inducing attempts at comedy or to appear “edgy” that would even feel out of place in the games. If you can overlook its glaring flaws, it’s a fun time overall. Johnny Yong Bosch is terrific as Dante and the action is bloody, visceral and entertaining. It never quite hits the high notes you’ve come to expect from Shankar’s work on the excellent Castlevania animation, nor does it tonally gel comfortably with the games. However, with season 2 on the horizon, it’s almost there. Almost.