Revision 4

RE Engine is Capcom's proprietary in-house game engine. It powers most of Capcom's modern releases, and it is the engine Onimusha: Way of the Sword is being built on. The engine replaced Capcom's older MT Framework in the mid-2010s and has since become the studio's default technology for internally developed console and PC titles, underpinning the animation, lighting, and rendering work that has defined the publisher's output over the last several years.

Overview

RE Engine was built to let Capcom's internal teams work in a modern, asset-driven pipeline. The engine is designed around the idea that 3D models, textures, animation data, and effects should all sit inside a unified toolchain that any team in the company can pick up and extend, rather than forcing each project to reinvent its own workflow. That is why the same engine now runs games as different in genre and scale as a first-person survival horror title, a fighting game, and an open-region monster hunting game. Onimusha: Way of the Sword is the first entry in its series to be built on RE Engine, and the shift is as much a production choice as a technical one: the engine gives the project access to the same shared tools, shader libraries, and animation systems that the rest of Capcom's action-focused teams have been refining for almost a decade.

The engine is sometimes called Reach for the Moon Engine internally at Capcom, a name that predates the public-facing RE Engine branding. In practice, the shorter name stuck because the first title to ship on the engine was a Resident Evil entry, and the two letters became shorthand both inside and outside the studio.

History and Development

Work on RE Engine began in 2014, during the early phase of production on Resident Evil 7: Biohazard. Capcom had originally intended to follow up MT Framework with a different engine called Panta Rhei, which had entered development in 2011 and was meant to debut alongside a PlayStation 4 action game that ultimately went unreleased. When that project ran into extended development difficulties, the Panta Rhei program was set aside, and Capcom shifted effort to a new in-house engine built specifically around the demands of modern asset workflows and next-generation hardware.

Jun Takeuchi, who led Capcom's Division 1 at the time, explained the change by pointing to the way global development had moved toward asset-based pipelines. MT Framework's tooling was already showing its age for that kind of work, and the studio decided the cost of maintaining the old engine outweighed the cost of building a replacement. The result was RE Engine, which shipped first with Resident Evil 7 in 2017 and was then rolled out across almost every major Capcom production that followed. Since its introduction, RE Engine has effectively become Capcom's default engine for internally developed titles.

Games Built on RE Engine

The engine has been used across a wide range of genres and project scales. The table below lists a selection of confirmed RE Engine titles, with Onimusha: Way of the Sword slotting into that family as Capcom's first modern entry in the series.

This breadth is part of what makes the engine attractive to individual teams. An artist or technical director moving from a Resident Evil project to an Onimusha project is working inside the same editor, with the same shader language, and with a familiar set of lighting and animation primitives. That shared foundation shortens onboarding time and lets smaller teams benefit from improvements paid for by larger projects.

Use in Way of the Sword

Onimusha: Way of the Sword was greenlit in early 2020. Producer Akihito Kadowaki has publicly said that by that point RE Engine had just reached a level where its utilities and general-purpose feature set could support the kind of third-person character-action work Onimusha wanted to do, which was part of why the project became feasible in the first place. He has also said the team did not hit significant engine-level problems during development, crediting the maturity of the tooling for letting the studio focus on gameplay design rather than on fighting with low-level systems.

Combat-Scene Effects Director Satoru Nihei has said RE Engine's current tech enabled the kind of special effects and character definition in battle scenes that were not practical in earlier Onimusha games. That includes the blade-clash animations and parry feedback that anchor the four-tier parry toolkit at the heart of the combat system. Director Kenichiro Thomson has described the engine's character rendering as central to selling Musashi Miyamoto as a believable protagonist, from facial micro-expressions during cutscenes down to the way his clothing and armour react during fast exchanges in combat.

The setting the engine is asked to render is a dark-fantasy version of Edo-era Kyoto, and the engine's lighting, particle, and volumetric systems do most of the heavy lifting in translating that concept onto the screen. Drifting clouds of Malice cling to rooftops and gather inside interiors, lantern-lit alleys shift between warm highlights and deep shadow, and the city's timber, paper, and tiled surfaces each carry their own material response to the available light. Those are exactly the areas RE Engine has been built around, and Way of the Sword leans on them directly rather than working against the grain of the toolchain.

Graphical Features

RE Engine ships with a set of modern rendering and authoring features that have been layered on over successive projects. The engine supports high-quality subsurface scattering, which is the shader technique most visible in realistic skin rendering, and uses it for the closely observed facial work that has become a Capcom hallmark in recent Resident Evil and Street Fighter titles. It includes a dynamic shadow system with a shadow cache for stable performance, and it combines morphological anti-aliasing (FXAA) with temporal anti-aliasing (TAA) to reduce aliasing and shimmering across detailed environments.

On the output side, the engine targets 4K resolution and HDR colour, with a dedicated VR mode whose frame-pacing requirements are strict enough that the underlying engine had to be tuned for consistent high framerates from the start. On the authoring side, RE Engine's pipeline is built to accept photogrammetry-based assets directly, which is the workflow Capcom has used to capture environment details and props at high resolution and then bring them into the engine without substantial re-authoring. Volumetric lighting, improved particle simulation, and refined physically based shading round out the feature set, all of them visible in the combat-scene work that Nihei has highlighted for Way of the Sword.

Platform Performance Targets

Way of the Sword targets current-generation consoles and PC, the three platforms that RE Engine has been tuned around for the last several release cycles. The engine has shipped games at 60 frames per second on PlayStation 5 and Xbox Series X, with dedicated fidelity modes at higher resolutions for players who prioritise image quality, and Capcom's recent action titles have tended to offer a similar pair of modes at launch. The engine's support for variable rate shading, temporal upscaling, and HDR output is what makes that kind of multi-mode presentation practical inside a single build.

On PC, RE Engine games have historically supported ultrawide resolutions, uncapped framerates, and a range of graphical options from shadow quality through reflection detail, and Way of the Sword sits inside that same technical envelope. The combination of the engine's maturity, the studio's long experience tuning it, and the comparatively scoped scale of a third-person character-action game means the performance picture for Way of the Sword is expected to land closer to Capcom's best-running RE Engine titles than to the more demanding open-region releases that have also shipped on the engine.