Onimusha: Way of the Sword marks Capcom’s return to the mainline series after approximately two decades, but the team did not want to reproduce the fixed cameras, control scheme, or overall structure of its predecessors.

Development began in earnest around 2020, when Capcom was finally able to assemble the necessary team and its proprietary RE Engine had matured enough to support a significantly more ambitious interpretation of the franchise. This is the same in-house engine Capcom has iterated and improved for a decade with several Resident Evil and Monster Hunter games, and even smaller-scale projects like Mega Man remasters or new IPs like Pragmata.

The resulting game retains defining elements such as Issen counterattacks, Soul Absorption, the Oni Gauntlet, and the Genma while rebuilding the experience as a modern third-person action game. Its sword clashes consider enemy attack types, weapon vectors, and terrain slopes in real time, while a newly developed Dynamic Dismemberment System determines exactly where Musashi’s blade cuts through an enemy or environmental object.

Ahead of the game’s September 4 release, we spoke with Director Satoru Nihei and Art Director Hiroyuki Nara about reviving the series, researching Kyoto’s historic temples and folklore, adapting Miyamoto Musashi, and designing the grotesque Genma. The developers also provided a detailed look at their environment and character pipelines, including Maya, ZBrush, Substance 3D, MotionBuilder, SpeedTree, Quixel Megascans, SDM2.0, ray-traced reflections, and the lighting systems used to balance Japan’s humid, overcast atmosphere against the visibility required by a responsive action game.

Onimusha: Way of the Sword releases on PC via Steam, PS5, Xbox Series X|S, and Switch 2 on September 4, 2026.

Onimusha: Way of the Sword marks the first new mainline entry in the series in ~20 years. What made now the right time to bring Onimusha back, and how did the team define what the series should mean for a modern audience?

Satoru Nihei, Director: Internally, there’s always been a strong desire to create a new Onimusha title; that passion never faded. However, modern game development requires significant time and manpower, and for a long time, we simply couldn't assemble the necessary development team. It wasn't until around 2020 that the timing finally aligned for us to gather our core members. Coupled with the fact that Capcom’s RE ENGINE had reached a high level of maturity, we were finally able to kick the project into full gear.

As for how we modernized the series, the team knew we shouldn't just recreate the exact format of the classic games. Instead, we focused on retaining the core elements that define Onimusha—such as the Issen counterattack and Soul Absorption mechanics—while utilizing modern technology to truly evolve the visceral, tactile feel of clashing swords. Our ultimate goal was to create an experience that offers a fusion of freshness and nostalgia for long-time fans, while delivering the exhilarating sword-fighting action unique to Onimusha for those playing the series for the first time.

When reviving a beloved IP after such a long absence, how do you decide which elements of the original games are essential to preserve and which parts need to evolve?

Satoru Nihei: We preserved the iconic elements that are absolutely essential to the Onimusha identity: Issen, Soul Absorption, the Oni Gauntlet, and battling the Genma.

On the other hand, rather than simply reproducing the fixed camera angles and classic control schemes of the original games, we completely rebuilt the experience into a modern third-person action game. In combat, we fiercely protected the core appeal of the Issen, but also introduced new mechanics like parries, deflections, and a guard-break Issen. We aimed to ensure that even players who might struggle with the strict timing of a traditional Issen can still fully enjoy the satisfying rhythm of sword combat. Furthermore, we pushed the boundaries of how sword clashes are depicted by calculating enemy attack types, weapon vectors, and even terrain slopes in real-time.

Ultimately, our benchmark for deciding what to keep and what to evolve wasn't about perfectly recreating older systems. Instead, we made decisions based on one core question: ‘Does this preserve the unique tension and feeling of exhilaration that defines the Onimusha experience?’

The game is set in Kyoto at the beginning of the Edo period, but transformed through Onimusha’s dark fantasy lens. How did the team approach blending historical atmosphere with supernatural horror and stylized action?

Satoru Nihei: Kyoto is often called the 'Thousand-Year Capital.' Over its long history, deep layers of human emotion—grudges, prayers, and a sense of awe and fear—have accumulated there, giving rise to countless legends of yokai and supernatural phenomena.

To fuse the historical atmosphere with supernatural horror, we used actual, real-world temples, shrines, and folklore as our foundation. We then built the story and designed the Genma around a single core concept: 'What if these legendary events and phenomena were actually caused by the Genma?'

Furthermore, we wanted our stylized action to take full advantage of Kyoto's distinct architecture and landscapes. A major highlight of the game is experiencing visceral sword fights in these iconic locations—such as clashing swords on the famous wooden stage of Kiyomizu-dera, or facing off against formidable foes at Kennin-ji Temple.

In the end, our approach was to take the real history, folklore, myths, and symbolic scenery of Kyoto and reinterpret them through Onimusha’s dark fantasy lens. We aimed to seamlessly unify the historical setting, the terrifying Genma, and the exhilarating swordplay action into one cohesive experience.

Miyamoto Musashi is one of the most recognizable figures in Japanese history and legend. What kind of research went into adapting him as the protagonist, and how did you balance historical inspiration with Capcom’s own interpretation?

 For our research, we delved into historical documents as well as how Musashi has been portrayed in film and literature over the years. Through this, we decided to focus not just on his legendary strength as a master swordsman, but also on his untamed nature and inherent humanity.

In Onimusha: Way of the Sword, he isn't portrayed as a stoic, rigidly polite samurai. Instead, he’s someone who openly expresses his emotions. He won't hesitate to show his distaste if something bothers him. A great example of our unique interpretation is how he reacts to the Oni Gauntlet. Musashi is unintentionally bestowed with this mystical artifact, but because his ultimate goal is to become a swordsman who is 'unparalleled under the sun' solely through his own physical skill, he is incredibly reluctant to accept this supernatural power.

To infuse this widely known historical figure with our own unique Capcom flair, we cast the legendary Toshiro Mifune as Musashi's face model—an actor renowned for playing samurai brimming with that exact wildness and deep humanity. Ultimately, rather than just retracing historical facts, we used history and folklore as our foundation to create a distinctly 'Capcom version of Miyamoto Musashi'—one who grows as a character through his ongoing conflict with the Oni power.

The team has mentioned that they've consulted historical experts while developing the story and setting. How did that research process shape the environments, costumes, weapons, architecture, and cultural details of the game? What is the software process like for getting those things into the game accurately?

Satoru Nihei: We received tremendous cooperation from the City of Kyoto, which allowed us to conduct on-site research at real, historical temples and shrines, such as Kiyomizu-dera, Yasui Konpiragu Shrine, and Rokudo-chinnoji Temple. While we referenced historical documents to understand the spatial layout and distances between structures, the intricate details and textures of the architecture were crafted directly from photographs we took on location. We also had historical experts and temple staff review our work to ensure we were integrating the architecture and culture of the era effectively.

Beyond the visuals, we investigated folklore and stories tied to each location and wove them into the narrative and gameplay. For example, there's a legend that a certain well at Rokudo Chinno-ji connects directly to the underworld. We wanted to ensure players could experience these fascinating, lesser-known tales through the world of Onimusha.

However, we didn't aim for a strict 1:1 recreation of historical facts or Kyoto itself. We carefully adjusted travel distances, visibility, and spatial layouts to better suit the combat and gameplay. We sought to strike a perfect balance: ensuring the locations are instantly recognizable to anyone familiar with Kyoto, while maintaining optimal visual appeal and playability as an action game.

Hiroyuki Nara, Art Director: Our production pipeline began with the research of historical documents and folklore to establish our core concepts. From there, we moved into white and greyboxing to check the gameplay, followed by asset creation. We then handled the layout, VFX, and lighting adjustments directly within the RE ENGINE before moving into the final polish.

Our primary software stack includes Adobe Photoshop, Maya, ZBrush, Substance 3D, MotionBuilder, and SpeedTree. The VFX and lighting are mostly implemented natively in Capcom’s own RE ENGINE. Maya serves as our central hub for data output, and we maintain strict backup and version control using SDM2.0.

A specific area of focus was the lighting. We wanted to capture the game's dark fantasy world as well as the unique, humid, and overcast atmosphere that is very characteristic of Japan. Achieving that distinct environmental feel—while simultaneously ensuring clear visibility for fast-paced action—was a major priority in our development process.

From an art direction standpoint, what were the main visual pillars for Onimusha: Way of the Sword? How did you want this version of Kyoto, its demons, characters, materials, lighting, and atmosphere to feel distinct from previous Onimusha games?

Satoru Nihei: When establishing our visual pillars, we focused on three core elements: a highly realistic depiction of Kyoto's landscapes, a jidaigeki (classic Japanese period drama) approach to representing samurai, and the grotesque, otherworldly nature of the Genma.

 For the environments, while we grounded the architecture and scenery in reality to make them deeply convincing, we portrayed them as eerie, surreal spaces where reality itself has been warped by the Genma and their dark miasma.

 When it comes to the characters, we didn't want a clean-cut, idealized hero. Instead, we aimed for a samurai brimming with wildness and humanity. He’s someone who fights desperately, covered in mud and blood. You can see Musashi’s rough, unpretentious nature directly in his character design. For instance, to conceal the Oni Gauntlet, he simply repurposes a torn piece of cloth he finds on his journey, wearing it as a makeshift dochu-gappa (traveling cape).

 As for the Genma, we wanted them to be much more than just creepy monsters. We used Kyoto's local folklore and regional myths as their design motifs, ensuring that their visual appearance alone communicates their deep background and personality.

 Ultimately, to make Way of the Sword feel distinct from previous Onimusha titles, our goal wasn't merely to recreate the old atmosphere. By combining hyper-realistic textures with a cinematic jidaigeki presentation, we’ve constructed a completely unique dark fantasy experience that stands on its own.

The series has always mixed samurai drama with grotesque supernatural enemies. Can you walk us through the design process for creating new Genma, bosses, and other creatures that feel connected to Onimusha’s legacy while still feeling fresh?

Satoru Nihei: Our design process always begins by researching the local folklore and anecdotes associated with the specific location, temple, or shrine where the Genma will appear. From there, we establish a core theme for the character.

Rather than simply recreating traditional yokai straight from the legends, we bring them into the Onimusha universe by asking ourselves: 'What if a Genma was actually behind this historical incident?' For instance, if we have a Genma whose concept is granting wishes in a twisted, malicious manner, we design it so that its personality and abilities are directly reflected in its outward appearance, its animations, and the actual combat mechanics.

When it comes to the massive Genma bosses, we focused on much more than just sheer visual intimidation. We placed a strong emphasis on creating a gameplay experience completely unique to that specific enemy, such as having them utilize the surrounding terrain and environmental objects during the battle.

To ensure these new designs feel connected to the series' legacy while remaining fresh, we made sure to preserve that signature blend of creepiness and coolness unique to the Genma. Through this approach, we aimed to create creatures where the narrative, the visual design, and the action mechanics are all tightly unified under a single, cohesive theme.

What does the team’s art production pipeline look like for this project? What software and tools are used for concept art, 3D modeling, sculpting, texturing, animation, VFX, lighting, and final implementation in RE Engine?

Hiroyuki Nara: In our art production, everything begins with researching local folklore and architecture. From there, we validate the overall structure using concept art and whiteboxing, move into model and asset creation, and finally adjust the layout, lighting, and VFX inside Capcom’s RE ENGINE. For characters, the flow goes from concept art to proxy modeling, sculpting, texturing, and finally setting up secondary physics like cloth simulation.

 Our core software stack includes Maya, ZBrush, Photoshop, Substance 3D, and MotionBuilder, while VFX and lighting are primarily handled natively in RE ENGINE. A massive priority for us, particularly with lighting, was balancing the dark, humid, overcast atmosphere specific to Japan with the clear visibility required for an action game.

Hiroyuki Nara: Here is a closer look at our Environment and Concept Art Pipeline:

1. We share gameplay concepts via design documents and gather motifs based on local folklore and architecture.
2. We brainstorm concepts and create rough concept art.
3. We build whiteboxes for tentatively approved locations and structures.
4. We connect the whiteboxes across all stages to verify scale, overall flow, and gameplay feel.
5. We break down the environmental elements, discuss technical feasibility with other departments, and estimate asset production costs.
6. We create greyboxes and finalize concept art for the officially approved stages.
7. We deconstruct the environment into modular assets and create the actual 3D models.
8. We build the layout and stages within RE ENGINE, introducing initial lighting and VFX to test gameplay and cutscene direction.
9. We polish the assets, layout, lighting, and VFX, while refining collision data.
10. We perform final adjustments, including color grading, to complete the stage.

For our Character Production Pipeline, the steps are quite streamlined:

1. Concept Art
2. Proxy Modeling (Blockout)
3. Sculpting
4. Texturing
5. Secondary Motion and Physics Setup (for cloth, hair, etc.)

Hiroyuki Nara: For the Initial Lighting Setup, we focused on several key areas:

• To capture the heavy, humid overcast weather characteristic of Japan, we researched the actual brightness of skies and ground surfaces on cloudy days, establishing a baseline that balances realism with visual appeal.
• To maintain our dark fantasy atmosphere, we carefully tuned the camera exposure. We specifically designed the range and behavior of the auto-exposure so it wouldn't interfere with the fast-paced action gameplay.
• We introduced specific lighting systems to ensure the player and enemies are always clearly recognizable.
• By establishing these quality standards early on, we ensured we wouldn't have to compromise between atmospheric world-building and gameplay visibility.

Regarding our Software and Tools:

• Concept Art: Photoshop
• 3D Modeling & Animation: Maya, MotionBuilder
• Sculpting: Zbrush
• Texturing: Substance 3D Painter, Substance 3D Designer
• Environments & Foliage: SpeedTree, Quixel Megascans
• VFX & Lighting: RE ENGINE (with some VFX work in Maya and Substance 3D Designer)
• Project Management: Flow
• Version Control / Backups: SDM2.0

As for Data Management and Implementation, we adopted a pipeline where data exported from Maya serves as our final DCC (Digital Content Creation) deliverable for both characters and environments. All DCC projects are strictly backed up and version-controlled using SDM2.0. By keeping our VFX and lighting implementation centralized within RE ENGINE, we maintained a highly efficient workflow that allowed us to bring this dark, historical vision of Kyoto to life without compromising on performance or quality.

RE Engine has powered many of Capcom’s modern titles across very different genres. What did RE Engine enable specifically for Onimusha: Way of the Sword, especially in terms of character detail, environment density, animation, lighting, and sword-fighting responsiveness?

Hiroyuki Nara: The greatest advantage of the RE ENGINE is the ability to share knowledge and features Capcom has accumulated across multiple titles. Because it is fundamentally 'a game engine built specifically to make Capcom games,' we aren’t bogged down by unnecessary constraints or bloated features.

Furthermore, the close physical and communicative proximity between our title development team and the engine engineers allows us to rapidly implement bespoke features and optimize performance.

Here is how RE ENGINE specifically empowered us across different facets of Onimusha: Way of the Sword:

Environments & Visual Expressions

We were able to build expansive, high-density stages that faithfully reproduce intricate historical architecture while maintaining a rock-solid frame rate. The engine allowed us to implement dynamic material state changes based on our concept art—such as wetness shaders, dissolving effects, and even kintsugi (the Japanese art of repairing with gold). We also optimized the rendering of hair and wind physics and introduced new cinematic camera features directly within the engine, supplementing our traditional Maya-based camera workflows.

Sword Combat & Dynamic Dismemberment

For sword-fighting, maintaining a stable frame rate alongside high-quality graphics is absolutely critical for input response. One of our standout technical achievements for combat is the Dynamic Dismemberment system. When you strike, the engine dynamically calculates the exact trajectory of your blade and physically severs the enemy or environmental object right at the point of impact. When we first conceptualized this, we consulted the engine team, and they swiftly added the necessary core functionality to make it a reality.

Lighting & Ray Tracing

The engine gave us great flexibility in modifying our ray tracing pipeline. For instance, when we wanted to process Specular (reflections) using ray tracing while handling Diffuse (color/light scattering) with traditional Reflection Probes, we encountered some brightness inconsistencies. The engine team was able to quickly step in and resolve these discrepancies, allowing us to maintain our specific visual targets without compromising performance.

Multi-Platform Optimization

Since RE ENGINE is designed with multi-platform development in mind, we could rapidly adjust asset loads and processing costs for different hardware. It ensures the game runs with stable, high quality even on lower-spec consoles. A great example of the engine team's support was the implementation of a Texture LoadLevelBias feature, which made it incredibly easy for us to manage and cap maximum texture resolutions across different platforms.

Thanks to this highly collaborative ecosystem, where we can share shaders, collision improvements, and immediate feedback with the engine engineers, we were able to significantly speed up our environment creation and bring the demanding, high-speed sword action of Onimusha to life.

For 80 Level’s audience of artists and developers, what has been the most challenging part of reintroducing Onimusha: building a faithful revival for longtime fans, or creating a new visual and technical foundation that can stand on its own today?

Satoru Nihei: Both were massive undertakings, but the most difficult aspect was definitely building a new technical and visual foundation for a modern Onimusha without being completely bound by the format of the original games.

Over the past two decades, action game controls, player expectations, and visual fidelity have evolved tremendously. If we had simply recreated the classic mechanics 1:1, we wouldn't be able to deliver a truly fresh experience to today's players. At the same time, if we modernized it too much, we risked losing the very essence of the franchise.

To navigate this, we strictly preserved the core pillars of the series: the Issen, Soul Absorption, the Genma, and the signature blend of real-world history with dark fantasy. With that historical DNA secured, we built everything else from the ground up. We introduced parry-based sword dynamics, transitioned the level design to accommodate full third-person exploration, and pushed for highly cinematic character rendering.

Striking that delicate balance—ensuring long-time fans instantly recognize the Onimusha they love in Way of the Sword, while guaranteeing newcomers can jump in and enjoy a top-tier modern action game—was by far the greatest challenge of this entire project.

Director Satoru Nihei and Art Director Hiroyuki Nara

Interview conducted by David Jagneaux

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