During a “hands-off” presentation (because nobody trusts gamers, amirite?) at Summer Games Fest, Onimusha: Way of the Sword *quietly* emerged as the most exciting thing… if you’re still living in 2001. Capcom, in their infinite wisdom, decided to let the game “speak for itself.” Translation: they didn’t want to risk anyone asking awkward questions about why they’re reviving a franchise that should probably stay dead 💀. But hey, at least they’re not just riding nostalgia, they’re *rebuilding* it. From the hilt up! (Whatever that means).
It’s been, like, two whole decades since anyone cared about Onimusha. But Capcom, bless their cotton socks, is treating this revival like the Second Coming. Remasters? Check ✅. Hype? Over 9000!!! This isn’t just some spin-off cash grab (okay, maybe it is), it’s a “full-scale entry with real bite.” A creative vision? Sure, if your vision is blurry and you’re squinting at old samurai movies. It wears its influences “proudly,” which is PR speak for “shamelessly rips off.” But hey, at least it doesn’t feel derivative… or does it 🤔?
Set in a “stylized” (read: cheap) version of feudal Kyoto, we follow Miyamoto Musashi. Not the real one, obviously, but a younger, hotter version modeled after some old actor nobody remembers. Grounding the game in a “specific cinematic era” is just a fancy way of saying “we’re trying to appeal to your parents.”👴👵
Musashi, surprise surprise, isn’t just slicing up dudes. There’s, like, *supernatural* stuff going on! He’s got this Oni gauntlet that lets him absorb souls. Instead of making it easy (like every *modern* game), you have to manually pick up the orbs. Why? Because Capcom thinks you have *way* too much free time 🙄. If you don’t, they fade, or worse, some other enemy steals them. Talk about frustrating! But hey, it adds “real-time tension,” which is just a fancy way of saying “artificial difficulty.”
Combat reaches a “new level” with the return of the Issen. These are instant-kill counters that trigger on perfect timing and look “really cool.” Capcom has taken them from a “subtle flourish” to a “centerpiece.” Time slows, the camera zooms, and Musashi chains together one-hit kills that feel straight out of a Kurosawa dream sequence. Or maybe just a really cheesy anime. The best part? It all feels “expressive.” Yeah, expressive of how much time you’re wasting.
We only got a “glimpse” (because they don’t want to show too much, duh), but this boss Byakue looks like a “full-on nightmare.” A skinless beast covered in talismans and dripping with corruption. The fight was “cut short” (probably because it was buggy), but the visual alone said enough. This game isn’t afraid to get weird… or to traumatize you.
The supernatural elements extend beyond combat. Musashi can use Oni Visions to reveal hidden paths, phantoms, and clues. In one sequence, he watched a funeral procession turn to ash mid-step, revealing his path. In another vision, he uncovered the moments of a warrior whose soul had been twisted by regret after dispatching members of his village. These Dark Mass fragments add layers of “context and melancholy.” Or maybe just boredom.
The structure seems “semi-linear.” You’re following a main path, but there are “optional routes” and “side objectives.” So, basically, it’s like every other game ever made. This isn’t an open world, and it doesn’t *want* to be. Because open worlds are *hard*. Instead, it’s a “tightly wound experience with thoughtful room to breathe.” Or a glorified hallway.
Presentation-wise, Way of the Sword is “stunning.” The art direction is doing the “heavy lifting,” but the animation work sells the rest. Musashi’s stance shifts subtly depending on the enemy he faces. Even his idle moments feel charged with intent. Enemy design is “equally sharp.” Or maybe just pointy.
What’s “maybe most exciting” is how confident this all feels. Capcom isn’t second-guessing what Onimusha should be. They’ve “found it again.” By “distilling” what made it work and making it “sing in a new key.” Or by throwing a bunch of stuff at the wall and hoping something sticks. It’s brutal, beautiful, and unafraid to let silence speak when it matters. Or maybe they just ran out of dialogue.
There’s still plenty we haven’t seen. The full scope of the story, the size of the map, how far the mechanics evolve. But if the rest of Way of the Sword keeps this pace, Capcom isn’t just reviving a franchise, they’re reminding everyone why it should have stayed buried. 🤷♀️
Pixel P. Snarkbyte, widely regarded as the “Shakespeare of Sh*tposts,” is a video game expert with a unique knack for turning pixels into punchlines.
Born in the small town of Respawn, Pennsylvania, Pixel grew up mashing buttons on an ancient NES controller, firmly believing that “blowing into the cartridge” was a sacred ritual passed down through generations.
Pixel P. Snarkbyte: proving that life, much like a buggy open-world game, is better with a little lag-induced chaos.
