7 hours ago
EduLogan
@edulogan
He/him. Post mostly about DMC & DmC.
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Bruh, i forgot that the captain of the ship comes back to die again again in this game! XD
Also, Kratos killing the barbarian with his own hammer was pretty sick!
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Finally done with this gem! :)
The Underworld wasn’t as bad as i expected (except for the part where you have to climb the pillar with blades. Fuck that thing very much).
Also, Ares’s boss fight is… really not that fun. :/
Some of his moves are pure bullshit, but it’s duable.
ALSO… Kinda fucked up to have his worst enemy as a trophy in his own room Athena.
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# Nero’s Mother: Why the Cortigiana Onesta Theory Makes Sense
## The Courtesans of Renaissance Venice: Between Disguise and Influence
During the Renaissance, Venice lived a fascinating contradiction. With a population of approximately 150,000 inhabitants and around 20,000 prostitutes, the city had legalized prostitution as a “necessary evil” tolerated by the Church. However, this tolerance came accompanied by severe sumptuary laws that rigidly controlled the behavior, clothing, and circulation of these women in public spaces.
### The Cortigiane Oneste: The Elite Among Courtesans
In this complex scenario, a special category of courtesans emerged known as “cortigiane oneste” (honest courtesans). Unlike common prostitutes, these high-ranking women lived in luxurious houses and were revered as true intellectuals. Highly educated, they mastered several languages and possessed deep knowledge of music, dance, literature, politics, and philosophy.
Figures like Veronica Franco and Tullia d'Aragona transcended the traditional role of courtesans. Veronica Franco, for example, published poetry and letters that included correspondence with King Henry III of France and the painter Tintoretto. Imperia Cognati became the muse of Raphael Sanzio, posing for the renowned artist. These women wielded political influence through relationships with kings and powerful nobles, having access to privileged information. Some even became patrons of the arts, sponsoring artists and writers.
### The Game of Masks: Disguise Strategies
Despite their cultural and intellectual influence, courtesans faced severe legal restrictions. They were forbidden from wearing pearls and luxurious fabrics, from attending churches on feast days, and from wearing white maiden veils. To circumvent these limitations, they developed sophisticated disguise strategies.
16th-century accounts indicate that courtesans who wished to move about without harassment or avoid arrests dressed as demure widows or respectable married women, using veils and cloaks that covered their bodies. Some were accompanied by a protector, pretending to be married. By presenting themselves as honest women, they managed to bypass prohibitions and participate in religious and social events from which they would be officially excluded.
Many courtesans deliberately ignored clothing laws, wearing garments indistinguishable from Venetian noblewomen. This bold act transformed the fashion of the time, although it put their freedom at risk. Disguise was fundamental in a society where etiquette and clothing functioned as “games of masks” that rigidly defined social status.
### Between Two Worlds: Courtesans and Convents
The relationship between courtesans and the Church revealed another interesting facet of this reality. There is no historical evidence that courtesans disguised themselves as nuns or Church members – such a strategy would be extremely risky and easily identifiable by ecclesiastical authorities. However, courtesans and nuns frequently collaborated on charitable works, helping other women in difficulty.
Prostitutes who survived to middle age often became nuns in special orders called “Incarcerate” and “Murate.” There are documented cases of ex-prostitutes who entered convents and worked as laundresses, finding in religious life an alternative to their previous condition.
### The Constant Oscillation
These women lived in permanent oscillation between fame, luxury, and the constant risk of persecution by the Inquisition. Their lives illustrated the contradictions of Renaissance Venetian society: at the same time they were marginalized by law, they wielded significant cultural and political influence. Through appearance, disguise, and intellectual cunning, they conquered spaces of freedom and respectability that the law formally denied them, leaving a lasting legacy in the cultural history of the Italian Renaissance.
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## Why the Cortigiana Onesta Theory for Nero’s Mother Makes Sense
A refined theory from the Devil May Cry fandom proposes that Nero’s mother was not a common prostitute, but rather a cortigiana onesta - a high-class courtesan, highly educated and culturally sophisticated. This interpretation not only respects Vergil’s personality but also adds fascinating layers to the narrative.
### 1. Vergil’s Personality Demands Refinement
Vergil is not just any character. He is characterized by aristocratic arrogance and a profound sense of superiority, appreciation for culture, poetry and philosophy (he quotes William Blake in his dialogue), aesthetic and intellectual refinement, as well as absolute disdain for vulgarity.
It would be completely inconsistent with Vergil’s character to become involved with a common prostitute. However, a cortigiana onesta - educated in multiple languages, versed in philosophy, music and literature, living in a luxurious house - would be exactly the type of woman who could capture his attention, even if briefly. For Vergil, intellect and sophistication would be as important as physical beauty.
### 2. The Perfect Context: Fortuna as a Medieval Venice
Fortuna is not just any city in the Devil May Cry universe. It features strong religious influence through the Order of the Sword, Renaissance/medieval architecture and culture, rigid social structure with religious nobility and defined hierarchies, as well as reverence for Sparda’s legacy.
This environment would be the perfect setting for the existence of high-ranking courtesans. Just like in Renaissance Venice, Fortuna could harbor educated and influential women who, although marginalized by law, possessed access to circles of power through their relationships with nobles and members of the Order.
A cortigiana onesta in Fortuna would have privileged access to information about the Order of the Sword, connections with the city’s religious and aristocratic elite, knowledge about legends and artifacts related to Sparda, in addition to the sophistication necessary to interest someone like Vergil.
### 3. The Disguise and the Black Cloak: A Survival Strategy
The cortigiana onesta theory perfectly explains the mysterious details about Nero’s abandonment.
The Black Cloak: Nero was found wrapped in a black cloak - a symbol traditionally associated with mourning or the disguise of a respectable widow. The cortigiane oneste frequently used veils and dark cloaks to disguise themselves as widows or respectable married women, allowing them to circulate in public and religious spaces from which they would be officially excluded. The black cloak was not just fabric - it was a symbol of social disguise.
Perpetual Anonymity: A high-ranking courtesan would have every reason to hide her pregnancy - to preserve her reputation and social position, avoid persecution from the Inquisition or religious authorities, maintain her lucrative relationships with Fortuna’s elite, and protect the child from social stigma.
Strategic Abandonment: Leaving Nero at an orphanage, disguised in her black cloak, would allow the mother to maintain her anonymity while ensuring the child would be found and cared for. It was not a cruel abandonment, but a calculated decision by a woman who lived between worlds.
The Orphanage Rumors: The children who bullied Nero said his mother was a prostitute. In Fortuna, as in Renaissance Venice, everyone knew everyone - except the courtesans who lived double lives through disguise. Rumors existed, but without public confirmation, because no one knew for sure who she was. She was a mask among masks.
### 4. The Meeting Between Vergil and the Courtesan: A Dialogue of Equals
Imagine the scene: Vergil arrives in Fortuna searching for information about Sparda and his legacy. He is not interested in banal carnal pleasures - he is on a mission for power and knowledge.
He encounters a woman who masters multiple languages and can converse about philosophy, possesses deep knowledge about the Order’s history and Sparda’s legends, is intellectually stimulating (something rare for Vergil to find), has access to privileged information through her relationships with members of the Order, and maintains mystery and sophistication - qualities Vergil would respect.
For Vergil, she would not be just physical company, but a valuable source of information and, perhaps for the first time, an intellectual equal. A woman who could debate, question, and challenge him mentally.
Vergil’s dialogue in DMC5 - “Just like you, I also had my nights of fun” - takes on a completely different meaning. It refers not just to carnal encounters, but to nights of intellectual conversation, philosophical debates, and perhaps even cultural salons that a cortigiana onesta would certainly frequent or organize.
### 5. The Woman in Red: Subtle Visual Evidence
In Vergil’s introduction cutscene in DMC4 Special Edition, Capcom deliberately shows a woman in red watching Vergil with admiration. Important details: she is dressed elegantly (not like a common prostitute), wears red (a color associated with both luxury and high-ranking courtesans), her admiring gaze suggests intellectual or romantic attraction (not transactional), and she does not approach aggressively - she maintains respectful distance, observing.
This visual scene supports the theory: it is not a common prostitute offering services, but a sophisticated woman demonstrating genuine interest in a mysterious and clearly noble stranger.
### 6. The Shakespearean Tragedy: Three Lives Between Worlds
This interpretation transforms Nero’s origin from a simply “sad” story into a Renaissance tragedy worthy of Shakespeare:
The Mother: An extraordinarily intelligent and educated woman, trapped between worlds - respected for her culture and beauty, but marginalized by her profession. Living constantly disguised, navigating power games through social masks, using her intellect to survive in a society that limited her by law but desired her in secret.
Vergil: A young man arrogant and obsessed with power, searching for his father’s legacy. For a brief moment, he finds unexpected intellectual and perhaps even emotional connection with someone who understands his search for something greater. But his obsession with power consumes him, and he leaves without knowing the consequences.
Nero: The son of two impossible worlds - demonic nobility and marginalized human sophistication. Abandoned by both parents, not out of cruelty, but due to tragic circumstances. Heir to a legacy of power and also of survival through masks and social disguises.
### 7. Thematic Parallels With Devil May Cry
This theory fits perfectly with the series’ central themes:
Dual Identities: Just as Dante and Vergil live between human and demonic worlds, Nero’s mother lived between respectability and marginalization.
Masks and Appearances: DMC constantly explores who people really are versus how they present themselves to the world.
Legacy and Blood: Nero inherits not only Sparda’s blood, but also the cunning and sophistication of a mother who survived through intelligence.
Power Through Knowledge: Vergil seeks power through knowledge; his connection with a woman of exceptional intellect makes thematic sense.
### 8. Why Official Materials Are Deliberately Vague
Capcom never explicitly confirmed the details about Nero’s mother because this allows multiple interpretations from the fandom, maintains mystery and intrigue about Nero’s origins, avoids controversies about representation of sex work, and preserves the dignity of Nero’s character without defining his mother in a limiting way.
The novel “Deadly Fortune” uses the generic term “prostitute,” but never specifies what type of prostitute. The vague description allows fans attentive to historical context and Vergil’s personality to reach the more sophisticated conclusion: a cortigiana onesta.
### 9. Additional Subtle Evidence
Other details that support this theory:
Nero is naturally intelligent: Despite not having complete formal education, he demonstrates tactical insight and rapid learning ability - possibly maternal inheritance.
His aristocratic rebelliousness: Nero rejects authority but maintains certain refinement - mirroring the life of a courtesan who defied sumptuary laws.
Adoption by Credo’s family: A respectable family that took in a mysterious orphan - perhaps there was discreet influence from someone powerful to ensure Nero was well treated.
### 10. The Difference Between Classes of Prostitutes
It is crucial to understand that “prostitute” in the Renaissance context was not a single category:
Common Prostitutes: Lived in public brothels, without formal education, rigidly controlled by laws, little to no autonomy, and lower-class clientele.
Cortigiane Oneste: Lived in their own luxurious houses, highly educated in arts, languages and philosophy, wielded political and cultural influence, chose their clients (nobles, kings, artists), were patrons of the arts, and some published literary works.
Vergil would never become involved with the first group. But the second? A woman who could debate philosophy, recite poetry in Latin, and provide information about mystical artifacts related to Sparda? Absolutely.
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## Conclusion: An Origin Worthy of Nero
The cortigiana onesta theory does not just “make sense” - it completely elevates Nero’s narrative. His mother would not be a passive victim of circumstances, but an extraordinary woman who navigated a world of power, culture, and danger through intelligence and cunning.
She would be someone who earned Vergil’s attention, even if briefly, survived in a society that limited her using masks and disguises, made difficult decisions to protect her son and her position, and left a legacy not just of blood, but of intelligence and resilience.
Nero would not just be Sparda’s grandson - he would be the son of a remarkable Renaissance woman, someone who lived between worlds just as he now lives between human and demon.
This interpretation transforms a sad footnote in Nero’s story into a complete Shakespearean tragedy - worthy of the Devil May Cry universe, where complex legacies and dual identities are central themes.
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I like this bit of exposition between them. :)
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Jake has met Sherry for exactly 20 minutes and they’re fighting BOWs the size of buildings! Bro can’t catch a break! XD
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They are so adorably awkward. XD
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AAAANNND bootleg Nemesis is here again!
I like Jake’s jokes so far. He reminds me a bit of Leon in a way…
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FINALLY!
The (imo) REAL protagonists/main characters of this game! >:D
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They are SO BB! :3
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Jakey boy showing off his mad skillz!
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Sherry! Come here!
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Bro, she’s really not moving an inch!
I had to restart the checkpoint because i forgot to bring her up! ToT
The option to have them react to ANY attacks lead to some… interesting moments.
RUN, BITCH! RUUUUNNN!!
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WHEEE!! :D
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This ship bit is probably the first and only time Cris’s campaign felt even remotely like a “survival horror”… Or at least as close as you can get to it when you’re equipped with machine guns and grenade launchers. :P
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Just realised this place looks quite similar to the RPD…
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Could just create a time paradox here… >:)
