After spending nearly two decades in the shadows, Onimusha returns with Way of the Sword, but this is far more than a nostalgic attempt to recreate what worked during the PlayStation 2 era. CAPCOM has effectively used the long absence as an opportunity to rethink the series for a modern action game audience, retaining its fascination with samurai, demons and supernatural weaponry while building the experience around a much more sophisticated combat system. The result is an impressive comeback that feels accessible to newcomers without relying too heavily on familiarity with previous Onimusha games, although it occasionally struggles to make everything surrounding its swordplay as compelling as the swordplay itself. At its best, Way of the Sword is an intense and wonderfully tactile samurai action game; at its weakest, it reveals a certain amount of repetition that prevents the whole adventure from consistently reaching the same heights.
This new story follows a fictional interpretation of legendary swordsman Miyamoto Musashi, who finds himself drawn into a supernatural conflict after encountering the demonic Genma and becoming connected to the powerful Oni Gauntlet. Kyoto becomes the centre of a battle against the Malice corrupting the city, with Musashi’s journey taking him through a dark fantasy version of historical Japan populated by grotesque demons, supernatural allies and dangerous rivals. The narrative itself isn’t necessarily the game’s strongest element, with some of its developments feeling familiar and its broader storyline sometimes relying on genre conventions rather than genuine surprises. What works considerably better is Musashi himself and the presentation surrounding him. His arrogance and confidence make him an entertaining protagonist, while the relationships that develop around him give the adventure more personality than its relatively straightforward premise might initially suggest. The decision to base Musashi’s appearance on the late Toshiro Mifune is particularly striking, and the game’s cinematic presentation makes excellent use of that resemblance without allowing it to become the sole defining characteristic of the character.
Where Way of the Sword truly distinguishes itself is in combat. Rather than building the game around lengthy combo strings or overwhelming players with an enormous arsenal of moves, CAPCOM has created a system in which reading opponents and reacting correctly matters more than memorising elaborate button sequences. Musashi has light and heavy attacks at his disposal, but defence is where the real depth lies. Dodges, blocks, parries, deflections and the returning Issen counter all have distinct uses, and the game regularly asks players to identify which response is appropriate rather than relying on one universal defensive option. This gives fights an enjoyable martial rhythm, with every successful exchange feeling earned. The absence of a conventional stamina system also keeps the action moving, allowing Musashi to remain mobile and aggressive while still demanding patience and precision.
The Issen system is especially important to that identity. Pulling off a perfectly timed counterattack remains a high-risk manoeuvre, but successfully landing one delivers the kind of immediate satisfaction that explains why the mechanic has remained so closely associated with Onimusha. It is not a technique that can simply be used against everything, and mistiming it can leave Musashi dangerously exposed, but mastering its timing creates spectacular moments against both ordinary enemies and larger groups. Boss encounters take the system even further by incorporating enemy resistance and opportunities for powerful Break Issen attacks, sometimes allowing players to choose between maximising damage or gaining additional souls. Combined with the different functions of the souls absorbed through the Oni Gauntlet, these mechanics give combat more tactical depth than the straightforward controls might initially suggest. The boss fights are consistently among the strongest parts of the adventure, combining demanding patterns with multiple phases and an excellent sense of spectacle.
Exploration and progression are somewhat more uneven. Kyoto functions as a gradually expanding hub, with corrupted areas to cleanse, optional missions to pursue, secrets to discover and resources to collect for upgrades. This structure gives the game enough room to breathe between its major battles, and some of the optional stories add welcome flavor to the world. Character upgrades, charms and equipment improvements also provide a clear incentive to explore beyond the critical path. The problem is that not all of this surrounding content is equally inspired. Some side activities become repetitive, and the process of repeatedly clearing similar objectives can eventually disrupt the otherwise strong momentum of the main adventure. Resource gathering is also tied closely enough to progression that players who want to develop Musashi fully may feel encouraged to spend time on content that isn’t always as rewarding as the combat at its centre.
Repetition is also the game’s most persistent weakness elsewhere. The combat remains satisfying throughout, but the variety of regular enemies does not always keep pace with the quality of the mechanics used to fight them. Certain minibosses and larger opponents are reused repeatedly, reducing their impact after the first few encounters, while some later enemies feel like familiar designs with increased strength rather than genuinely new challenges. The environments can suffer from a similar problem, as the corrupted version of Kyoto is visually impressive but doesn’t always offer enough variety over the course of an adventure that can last roughly twenty to twenty-five hours. Way of the Sword occasionally feels as though CAPCOM has invested the vast majority of its creative energy into its best systems and then accepted a more functional approach elsewhere. Even the weapon selection reflects this to some extent: the katana is so central to the game that some of the more specialised Oni weapons can feel situational rather than opening up the combat in a more substantial way.
However, that’s mostly nitpicking. Fortunately, the PlayStation 5 version gives the game’s strongest qualities plenty of room to shine. The RE Engine once again delivers detailed environments, strong character models and excellent facial animation, with Musashi in particular benefiting enormously from the care put into his expressions and movement. The direction during major encounters is also exceptional, frequently making boss battles feel like elaborate scenes from a samurai film rather than simple encounters in an action game. There is an effective contrast between the historical architecture of Kyoto and the grotesque corruption created by the Malice, although the visual impact naturally diminishes somewhat when similar environments and enemy types begin recurring. Performance is smooth in Performance mode, with responsive combat being especially important in a game where precise timing is so central to success.
Audio is similarly impressive. The sound of clashing steel, successful parries and powerful finishing moves gives the combat a satisfying physicality, while the soundtrack generally knows when to support the atmosphere without distracting from the action. Voice performances and cinematic direction help compensate for a story that isn’t always particularly adventurous, giving even familiar narrative beats enough personality to remain engaging. Musashi’s humor and confidence also prevent the relentlessly bloody demon-slaying from becoming overly grim, and there is an enjoyable balance between samurai drama, supernatural horror and moments of exaggerated action that feels appropriate for an Onimusha game.
Onimusha: Way of the Sword is therefore a highly successful return for the series, even if it is not quite flawless. Its combat system is the clear highlight, offering enough depth to reward mastery while remaining immediately understandable, and its boss fights, presentation and protagonist provide the experience with a strong sense of identity. The repetitive side content, reused enemies and uneven environmental variety keep it from becoming the consistently exceptional action game it occasionally threatens to be, but those shortcomings don’t undermine the quality of its central gameplay loop. We found ourselves willing to forgive a surprising amount whenever the game put a katana in our hands and challenged us to read an opponent correctly, because that is where Way of the Sword feels truly special. CAPCOM has not simply brought Onimusha back; it has given the series a convincing new foundation, and one that makes the prospect of following Musashi’s bloody path again considerably more exciting.
Score: 8.7/10