I've just killed King Minos, the Cretan ruler who, until quite recently, sat at the entrance to the first circle of hell proper, judging the fallen and assigning them to their particular circle of torment according to their sins. A little unfair, you may think, as he was really just doing his job, but the bastard started it.
It certainly raised eyebrows. As impressively brutal and pummelling as Dante's Inferno appears, the question is why on Earth - bar it being a licence that's handily in the public domain - would you decide to take a 14th century Italian poem and turn it into a modern God-of-War-esque fighting game? A cynic could ask: what's next from EA? Grand Theft Hamlet?
"We're sitting in the Milton room by the way," Wayne Barlowe confides, with a twinkle in his eye. We've just been talking about Paradise Lost, the English writer's 17th-century epic poem, and the defining literary influence on Barlowe's artistic life.
To judge the significance of a figure to a particular culture, you don't need to assess the weight of scholarly opinion concealed in a long-forgotten corner of a library, nor to seek out the affirmation of cobweb-brained contemporary intellectuals. You simply need to go out on the piss in his home town.
You have to wonder why it hasn't happened more often. Plenty of games have been 'inspired' by a good root around the library, but wholesale appropriation of literature has never really been the done thing. Could EA, then, not exactly known as a creative trend-setter, become just that with Dante's Inferno?