Dante's Inferno: Death By Bodily Fluids - Gamescom 09 - Kotaku
On paper, adapting Dante Alighieri's language-shaping epic poem into a button-mashing action video game sounds destined for failure, but in motion the game has a surprising amount going for it.
Visceral Games' decision to focus on the vivid imagery of hell in Dante's Inferno and rework the story is the only way a developer could create a game based on the literature.
And it's Dante's beautiful, flowing descriptions of horrific places and almost unimaginable punishment that makes Inferno such a powerful work. His victims in the poem, the personal political enemies, the infamous historic figures, aren't what drive readers through the work. It's those scenes of torment. And Visceral's animated adaptations of Lust, of Anger, of Gluttony are as chilling as Dante's.
Each of the rings of hell are played out as video game levels packed with unique creatures, lost souls corrupted by their sins.
The first level I played took place on the back of a reimagined Charon. (Although the game just hit Alpha, I played through an E3 build) In Greek mythology Charon is the boatman that shepherds the souls of the recently dead across the rive Styx. In Dante's Inferno, Charon is a boat of bones, muscle and taut skin.
During the journey, Dante, wearing a light armor and iron wreath as helm, is attacked by the souls of the damned and some lesser demons. Dante's two weapons are Satan's scythe and the cross of his unrequited love, Beatrice.
Fighting does feel a lot like God of War. You have a light and heavy attack. The ability to grab creatures smaller than you with your scythe and can even use the scythe to grapple objects or enemies. Beatrice's cross shoots out rays of light that stun and knock back, but don't kill.
The developers tell me that your decisions to punish or save some of the lost souls you come upon in the game allows you to either power up the scythe attack or the cross.
...Dante's Inferno: Death By Bodily Fluids | Kotaku Australia
And rework the story is the only way a developer could create a game based on the literature.
And it’s Dante’s beautiful, flowing descriptions of horrific places and almost unimaginable punishment that makes Inferno such a powerful work. His victims in the poem, the personal political enemies, the infamous historic figures, aren’t what drive readers through the work. It’s those scenes of torment. And Visceral’s animated adaptations of Lust, of Anger, of Gluttony are as chilling as Dante’s.
Each of the rings of hell are played out as video game levels packed with unique creatures, lost souls corrupted by their sins.
The first level I played took place on the back of a reimagined Charon. (Although the game just hit Alpha, I played through an E3 build) In Greek mythology Charon is the boatman that shepherds the souls of the recently dead across the rive Styx. In , Charon is a boat of bones, muscle and taut skin.
During the journey, Dante, wearing a light armour and iron wreath as helm, is attacked by the souls of the damned and some lesser demons. Dante’s two weapons are Satan’s scythe and the cross of his unrequited love, Beatrice.
Fighting does feel a lot like God of War. You have a light and heavy attack. The ability to grab creatures smaller than you with your scythe and can even use the scythe to grapple objects or enemies. Beatrice’s cross shoots out rays of light that stun and knock back, but don’t kill.
The developers tell me that your decisions to punish or save some of the lost souls you come upon in the game allows you to either power up the scythe attack or the cross.
Players will also rely heavily on injuring and then riding much larger creatures to clear areas and access otherwise unattainable locations.
For instance, after clearing Charon’s back of creatures Dante has to mount a large fire-breathing, bull-like creature and use it to snap the neck of Charon.
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