True, but it hasn't been chronological since... forever. So I think it's weird timing to make DmC after DMC4. It was an odd choice to just keep Nero a mystery to the people who play the DMC games.
Just like "Dude, what the hell are you
DOING?"
Like this...
*Alright, but I don't think it's acceptable for any character to just be left as a loose end. Whether it's Lucia or Nero doesn't matter.
Oh definitely, but that's par for the course of the classic's not-too-good writing. They make everything as a self-contained adventure, and they like to do the Bond-like narrative, where it's as self-contained as possible, with very few characters crossing into the other adventures.
*The fact is, nobody knows who it is who comes driving back. I'm not denying any possibility, but I'm not willing to jump to the conclusion that it was Dante. For all I know, the motorcycle could've had engravings on it saying who it belonged to. I don't know if Deadly Fortune says anything about Dante, but if it doesn't, doesn't that leave a good possibility that Dante never came back and that Nero took over from him?
DMC2 was made well before DMC4, and the safest conclusion is it was Dante driving up to the office, giving the game one of those hopeful/happy endings.
DMC4 and Deadly Fortune have no part in DMC2's ending, although it can totally retcon it - like I've said that for a DMC5 they could say Dante has been in Hell, and it
is Nero driving in to make contact with Dante, which kicks off his portion of the adventure. However, that's just an idea in
my head.
*Well, this is a game series. If it sort of started within the games, shouldn't it end within the games? I mean, if I read a book by Ernest Hemingway, I would not expect it to conclude in a video game. What if I didn't even play video games? I'd be f*cked. I'd just have to read something about how it ended - and make an incomplete mental picture.
In a perfect world, sure, but it's not, and the IP holders can do whatever they want with it. The problem with your analogy is that most books, like something Hemingway has done,
are self-contained or completed in literary form. Video games are an odd media, and as I mentioned, Japan loves commercializing franchises in any way they can, especially with novelizations. Some if it, however, like Deadly Fortune, offers more information just by virtue of the kind of medium it is. I
love writing over drawing comics because I can say and convey a lot more to the reader than with comic panels.
And your mention of a Hemingway story ending itself in a game? Well, that's how marketing works. Getting you into an entirely new medium that they can get some of your phat coin from. Although Japan is a lot less shameless at it
than Americans can be. Usually, Japan is content to get money from you for buying the novelization of something you've already experienced some other way.
I'm not saying the practices are right, just that unfortunately, that's what has been done :/