Izumo No Okuni

Izumo No Okuni is one of the confirmed allied characters in Onimusha: Way of the Sword. In real-world history she is credited with founding kabuki theatre in the early 17th century, and the game folds that identity directly into her role as a supporter of Musashi Miyamoto. Capcom presents her as a young kabuki dancer who has stepped away from the stage to search for a way to destroy the Genma, and she is shown in the Tokyo Game Show 2025 story trailer as part of the band of allies who join Musashi during his hunt through Kyoto.

Overview

Okuni is pitched as the eccentricity of the main party, a role that Capcom's own character framing assigns to her in contrast with the raw muscle that Lady Oni brings and the magical craft provided by Ono No Takamura. Where those two read as straightforward combat and spellcraft contributors, Okuni is framed as the dancer who has walked off her own stage to chase a demon hunt, and the trailer beats around her lean into that unusual fit. She is described as famous across the city for her performances, yet she has not returned to the stage for some time, and the story picks her up at the point where her hunt for a way to fight the Genma has pulled her into Musashi's orbit.

The in-game cast credits list Chiharu in the Japanese voice role and Leader Looi in the English voice role. Her presence across the promotional material has been consistent since the Tokyo Game Show 2025 build of the game, which confirms she is a fixed member of the supporting cast rather than a cameo or a one-scene figure.

Historical Background

The real Izumo no Okuni is one of the most important figures in the history of Japanese theatre. She is generally dated as born around 1578 and active until roughly 1613, and she is credited as the originator of kabuki. Tradition holds that she began as a miko, a shrine attendant associated with Izumo Taisha, before leaving for Kyoto and turning to public performance as a way of raising money on behalf of her shrine. Around 1603 she is recorded as performing on the dry riverbed of the Kamo River at Shijogawara, a stretch of ground that served as an open-air performance space in the capital, and it is those performances that are taken as the founding moment of kabuki as an art form.

Her dances and short dramatic sketches broke from earlier courtly forms in several ways. She is described as cutting her hair short, performing in men's clothes, wearing swords, and mixing religious dance with contemporary street life. She gathered a troupe of women, many of them outcasts, and taught them her style; the performances were popular enough to draw large crowds and to spread imitators through the capital within only a few years. The Tokugawa shogunate eventually banned women from the stage in 1629 over moral concerns and the fights that broke out in the audience, which is why the kabuki that survived to modern times is an all-male tradition, but the art form itself is agreed to trace back to Okuni's troupe. A bronze statue of her still stands by the Kamo River near the Minami-za kabuki theatre in Kyoto, marking the same ground where she is remembered to have performed.

Placing her in an early Edo-era Kyoto setting therefore sits comfortably inside real history rather than contradicting it. The period that Way of the Sword draws from is exactly the window in which the historical Okuni was active, which gives Capcom the same recognisable-but-legitimate footing it uses for the rest of the named cast.

Appearance in Way of the Sword

Capcom describes her in-game as a young kabuki dancer who has departed the stage in search of a way to defeat the Genma. She is not introduced as a warrior by trade; the framing around her points the other way, noting that she is out of her usual element when the fighting starts and that she has come to the hunt because the demons have made ordinary life in the city impossible rather than because she was trained for war. In the Tokyo Game Show 2025 story trailer she is shown approaching Ono No Takamura earlier in her search, seeking the power to push back against the demonic invasion, which places her on the same road through the story that brings her together with Musashi.

Her reintroduction to an audience that may not know the historical name is handled through her stated trade. She is a dancer, she was famous for it, and she has stopped performing. That is the frame the trailers put around her before anything else, and it lines the character up with the figure from history without requiring the player to bring that context in.

Role on Musashi's Team

Okuni rounds out a three-ally supporting cast that joins Musashi over the course of the game. Capcom's public framing places Lady Oni as the raw power of the group, Ono No Takamura as the magical specialist, and Okuni as the eccentric presence that rounds out the trio. The wording is deliberate: she is not cast as a second swordsman or a second mage, but as the member of the party whose background does not obviously fit the fight and who brings an uncommon register to the team dynamic.

That framing lines up with how she is shown in the story beats revealed so far. One observer of the trailer described her as a dancer who might be out of her league against the Genma but who is there all the same, which matches the Capcom-published description of a performer who has left the stage to chase a problem she has no obvious training for. The practical consequence is that her scenes across the promotional material lean on her presence and her art rather than on a weapon loadout, which keeps her distinct from the more conventionally combat-facing members of the group.

Connection to Kyoto

Kyoto is the setting that ties her in-game identity and her historical identity together. The game takes place in an early-Edo version of the capital, the same period in which the real Okuni was performing at Shijogawara, and the story takes the player through a version of the city that includes the kinds of districts her historical performances were associated with. The Kiyomizu-Dera Temple area and the wider theatre district around the Kamo River are the recognisable landmarks that the period evokes, and situating a kabuki dancer in that city during that decade is a deliberate piece of scene-setting rather than a free invention.

Because her craft is a public one, her frame of reference is the city itself rather than a private estate or a remote shrine. That ties her to the street-level Kyoto that Musashi is fighting through, the same riverbeds and open spaces where the historical founder of kabuki drew her crowds, and it gives Capcom a clean in-fiction reason for why a performer ends up tangled in a demon hunt alongside a wandering swordsman.

Visual Design

Her kabuki heritage reads immediately in her design. Capcom's character art and the TGS trailer footage both frame her with the colour, silhouette, and carriage of a stage performer rather than a warrior. She moves with the deliberate poise that the dancer background implies, and the styling of her clothing and hair draws from the early-kabuki image associated with Okuni's own troupe, the same look that the historical accounts describe: flamboyant, expressive, and deliberately unlike the more restrained dress of the court and the warrior class.

The design choice also reinforces the party-role framing. In a cast that places Lady Oni as the physical force and Ono No Takamura as the grave elder spellcaster, Okuni's look reads as the one that does not fit a standard combat archetype, which is exactly the niche her character is built to occupy. She is the member of the team whose silhouette signals art rather than arms, and whose visual presence carries the eccentricity framing on its own before any dialogue needs to explain it.

Cast Credits