Following on from number three’s success and to whet fans appetites for the upcoming fourth instalment, Capcom has seen fit to reissue the game in the form of Devil May Cry 3: Special Edition. Like similar releases from both Konami and Tecmo, Devil May Cry 3: Special Edition incorporates a number of tweaks and additions over the standard release - most notably the return of Bloody Palace Mode, a new boss in the form of Jester, a Turbo Mode which increases the games speed by about 20%, and the option to play as Sparda’s second son Vergil (assuming that you have a completed DMC 3 save on your memory card).

As you might expect, especially those of you who’ve played through the main story already, Vergil plays very differently from his sibling as instead of guns, Vergil fires hovering swords that can home-in on the enemy. As you can imagine, this feature feels relatively lightweight compared to the meaty gun parade of his brother and can only be described as frivolous, especially in the long run where it descends to mindless button mashing.

In terms of melee attacks, Vergil has not two but three different Devil Arms that the player can switch between at any one time. Aside from sword and Beowulf attacks, Vergil also has his signature Katana, or Vamato as it’s known throughout the game, which - although slower than standard sword attacks - is much more powerful and gives players the choice of sacrificing power for efficiency and vice-versa. It might sound a little overwhelming, especially compared to the 'shoot first, think later' approach to which Dante adheres, but Vergil is definitely the easier of the two to master. This is, no doubt, due to his lack of additional fighting styles as unlike Dante, Vergil does not gain additional styles as the game progresses. This is probably because his default style - Dark Slayer - is so powerful, which in turn makes the game far easier especially for newcomers, that multiple styles would make for an unnecessary complication but it’s no less disappointing.

Now, you're probably wondering how Capcom incorporated Vergil into the main single-player game. The answer is: half-heartedly. With the exception of an all new opening scene, Vergil’s story mode is bereft of cut-scenes which makes for an exceptionally hollow experience. Quite why Capcom didn’t see fit to produce new cut-scenes (even seconds long mini cut-scenes would have been better than nothing) is quite a mystery as it would have demonstrated the obvious care that has gone into the game on a much larger scale than is currently evident.

One of the better ideas introduced in Devil May Cry 2: Bloody Palace sees the player fighting in an arena style environment battling a multitude of enemies from the main game. As you clear each area, a choice of three portals open up and, depending on which you choose, transports the player to a higher or lower floor where the process begins over. The Bloody Palace was always a good idea which made its exclusion from the original release of Devil May Cry 3 bewildering for fans as that is where players can hone their skills to perfection and level up their abilities before tackling the more taxing missions the main game has on offer. Be warned, though, that players who feel no love for achieving and subsequently increasing high scores, won’t get a whole lot out of this mode.

While the main single-player campaign follows now trademark mission structure of the series with a rank anywhere between ‘S’ and ‘D’ (with ‘S’ being the highest) awarded upon completion of missions, the action contained therein includes some of the most diverse elements to be seen in an action orientated title, especially one of the hack-and-slash genre. The sheer variety on offer is almost endless from fighting in a deserted strip club, to fending off pawns on a massive chess board (which actually turns into a proper game of chess with the player charged with the task of eliminating the king - effectively going for a check-mate - before proceeding forward). The games level designers should be commended for their stellar work reinvigorating a franchise many thought had run its course. In short, the action is the real star of an already excellent show.

The fighting styles introduced in the original game are also something to shout about allowing players to customise and play the game their way and not how the developers dictate. While all styles follow the well-travelled path of video game customisation (defence, gunplay, offensive, etc.), they all adapt the combat system in a more meaningful way than the attribute customisation options found in similar games. Chief among these is undoubtedly the Royal Guard defensive style - the most deep and versatile of the lot. Using the circle button to block, by positioning yourself at an enemies weak point you can derive power from their attack and use it against them, essentially parrying attacks. Of course, you can’t block all attacks from all directions, so placement is important. Unlike something like Ninja Gaiden, you can’t just block while staying constantly idle, you must keep on your toes if you wish to block and, subsequently, parry effectively. The Royal Guard style is very much the odd one out of the bunch due very much to how the dynamic of the game changes when it is equipped. This is no doubt due in part to Kenji Itsuno’s involvement in the project as game director which, considering his roots (Street Fighter III and Alpha), explains the complexity the Royal Guard style brings to the table, especially when compared to the others.

With the games main features out of the way, all that is left are the less than special features. Turbo Mode, which supposedly speeds the game up substantially, is an unnecessary addition with the increase in speed totally unnoticeable to all but the most perceptive of gamers (read: obsessed). Demo Theatre - which allows you to view previously unlocked cut-scenes at will - is also pointless as, while the cut-scenes are entertaining, there are very few that anyone would be fond of witnessing more than once. Jester, that annoying little rodent who always seemed out of arms reach in the original game, now locks horns with the player quite frequently throughout the story mode. Compared to the other bosses, though, Jester is terribly straightforward with all his attacks simple to avoid and his patterns easy to read. Additional costumes are also available to unlock for both characters in case you want to play Barbie, but this is a completely superficial addition that has no actual bearing on the gameplay.

Undoubtedly in a bid to appease American fans, Capcom has fleshed out the difficulty levels to suit different gamers skill levels. ‘Easy’ is the same as that found in the Japanese version of Devil May Cry 3 and an excellent entry point for beginners. The new ‘Normal’ mode is essentially the same as the original US versions easy and is generally considered by many to be where the ‘real’ game begins. ‘Hard’ is now the same as Normal taken from the initial US release, ‘Very Hard’ was the notoriously difficult (and exclusive) hard from the original US release, while ‘Dante Must Die’ and ‘Heaven or Hell’ are the same as they always were with Heaven or Hell significant because all beings in the game, including bosses and Dante, take only one hit before they meet their maker (no, not Tsuyoshi Tanaka!). All of which… is tremendously confusing.

If all that wasn’t enough, players starting a new game are now asked whether they’d like to go ‘Gold’ or ‘International’. Gold is essentially the same as that found in the original Japanese release, with players able to continue their game just before the point of demise, instead of having to restart the level,which is what the International option forces you to do. Also by either collecting gold coloured orbs throughout the game or purchasing them from the customisation menu, players are able to continue the game from the point in which they originally died; a huge help for novices indeed, but gamers who care about the sanctity of a challenge should probably just ignore that choice and start over from any of the games well placed checkpoints. As you can probably ascertain, International is the polar opposite of Gold forcing players to work (or rather pay) for their checkpoints. In this mode, gold orbs are replaced by the yellow orbs from previous games which, once used, permit players to restart from a checkpoint instead of starting over the whole level. Maddening, yes, but it wouldn’t be Devil May Cry without a little frustration.

Like many other in-house Capcom releases, Devil May Cry 3: Special Edition is extremely import friendly allowing players to select not only which language the subtitles appear in, but also the overall language of the game turning all the ponderous Kanji that litter the menu screens into easy to understand English letters.

The sound design demonstrated throughout Special Edition is excellent with a soundtrack befitting of the subject matter and not merely an after thought like in some games (say hello Prince of Persia: Warrior Within). While the soundtrack is predominately heavy metal influenced, the music never over stays its welcome and is used sparingly throughout. It’s a testament to the games sound team that the music keeps the players adrenaline running even over extended periods of play. Aside from the main soundtrack, the game also incorporates some very foreboding incidental music and soundscapes that only add to the games gothic atmosphere.

Despite being over a year old, Devil May Cry 3 is still an excellent title and the quality of this re-release should be judged purely on the quality of the underlying game and not the trivial additions that seem shoe-horned in. While Devil May Cry 3: Special Edition encompasses everything that was great about the original title, it expands upon it very little, resulting in a game that unfortunately doesn‘t live up to its name.