That said, there are more than a few times where you’ll get to a locked door, only to realize the key is a 10-minute trip in another direction. They’re laid out in a way that makes navigating through the locations fairly intuitive. The mansion and its surrounding grounds aren’t huge. The Resident Evil-style fetch puzzles often send you circling through isolated locations chasing your tail for random keys or artifacts. The gameplay feels like a relic from a time we’ve left behind, and for good reason.
But Onimusha lacks all the irony of DMC, and takes itself so seriously that it’s distracting. Some of the dialogue from the demon masterminds is reminiscent of the tough guy musings from another Capcom character action game from 2001, Devil May Cry. You’ll often incredulously shrug at what’s just been said. Samanosuke, our hero, has stilted and corny exchanges with evil demon lords. At its best, it’s just simplistic and banal. The pacing screams “there are no rules,” and you can really appreciate what feels like a lack of formulaic game design in it.īut the writing is so incredibly poor. Puzzles seem to come out of nowhere, and you switch control of characters at unexpected places. This is the antithesis of today’s open-world fever. You spend much of your time running through down claustrophobic hallways. There are several interesting decisions that give Onimusha that sort of indie movie/art house vibe.
Under the political layer of feudal lords being conquered one after the other by Oda Nobunaga, hides the horror story of demon sacrifice. The overarching madness of the Sengoku period in Japan makes for an interesting backdrop. Developer Yoshiki Okamoto literally wanted to make a samurai take on 1997’s Resident Evil, complete with the undead and a mansion full of traps. The overall concept of the story is sound.
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