Onimusha: Way of the Sword review

Capcom's Onimusha: Way of the Sword is a challenging action game loosely based on the life of 16th-century swordsman Miyamoto Musashi. The game can be completed in roughly 20 hours, or closer to 30 for thorough players.

A Philosophy of Combat

The combat system is built around momentum and observation. It makes you feel adept with a blade. Hiring real swordsmen for motion capture, Capcom designed a system where your most lethal moves follow parries, deflections, or dodges. Regular attack strings feel under-powered, serving more to confound enemies than to kill them.

Long skirmishes are gruelling. They demand perfect error-free reading and riposting. According to the Eurogamer review, this creates "a more effective role-play" than titles like Nioh or Sekiro. It is more concerned with aptitude than acrobatics.

Demanding Visual Language

The game is hard. It teaches you to watch enemies intently, with even basic foes animated in great detail. A visual language of flashing telegraphs cues the player. Red denotes undodgeable attacks, while glowing blue signals a dodge-only move.

Some might dismiss these as simple 'Simon Says' prompts. The reviewer offers a more generous reading. They argue Capcom uses this familiar language to craft high-stakes, fair, and tidal fights. Not an easy feat.

Pacing and Padding

When not fighting, you explore medium-sized areas. The game is neither fully linear nor open-world. These sections include repetitive side missions against the 'genma', demons invading the human realm. The reviewer states the game would have benefitted from a more blinkered setup.

The 'legacy' dungeons and walled paths are more effective. The side content does offer rewards, however. Exploring unlocks items, empowers Musashi, and provides access to a skill tree and weapon upgrades. A 'Press R2 to see into the demon realm' button highlights objectives, speeding things up.

Cinematic Story and Boss Fights

Driven by a compelling story, the game had the reviewer pining for its boss fights. The connective tissue of mob fights and simple puzzles provides momentum. But the busywork isn't as impressive as the setpieces.

The cutscene direction tries to copy Akira Kurosawa, to great effect. Camera work, pacing, and timing are superb. The reviewer also calls it "one of the funniest games I've played in a long time." Capcom spent two years negotiating rights to use the likeness of "the quintessential samurai action actor," Toshiro Mifune. His mix of dramatic, funny, and emotive acting is alive in the game.

Small character details sell the role. The grimace when flung into a wall, a dubious sniff, a raised eyebrow. It's almost uncanny. This belief in the character makes the reviewer want DLC just for more cinematography and characterisation.

For now, replaying boss fights from the game's hub is an option. Returning with new gear reveals new moves and conditions. "That's great combat design," the review notes. Capcom shows the breadcrumbs, but the player must pick up the trail.

Onimusha's value comes from the artistry of its fighting and boss design, not the breadth of content. It forces you to learn from mistakes. Capcom dares to reject ubiquitous Soulslike design for something more unique and fitting for Musashi. By insisting you play honestly and embody his philosophies, the game merges narrative and mechanical storytelling. The result is a distinct and demanding experience.