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11 Satoru Nihei is the director of Onimusha: Way of the Sword. This is his first directing role on an Onimusha title. He has been with Capcom long enough to watch the franchise go dormant, and he has publicly said he wanted to make a new Onimusha game for most of that time.
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33 The Long Wait
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55 Nihei has said that the reason Onimusha took so long to return is that Capcom's staff was continuously occupied with other priorities: Monster Hunter, Resident Evil, and Street Fighter all had to be delivered first. The right people for a new Onimusha only became available in 2020, which is when the project was greenlit. At that point RE Engine's utilities and general-purpose feature set had also matured to the point where the team could build the combat animation work the project wanted.
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77 Design Philosophy
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99 Nihei has framed his brief as keeping what defined Onimusha in the first place: the soul-absorbing gameplay loop and the sense of art, within a new technology base. He has specifically talked about bringing those pillars forward while using modern tech to raise the combat to current standards.
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1111 Not a Soulslike, Not Open-World
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1313 In interviews around the TGS 2025 and Capcom Spotlight coverage, Nihei has been explicit that Onimusha: Way of the Sword is neither a Soulslike nor an open-world game. Encounters play out in handcrafted arenas with a fixed level structure, and the combat is deliberately tuned so that non-action-genre players can read its rhythms, not just fans of hardcore action games.
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1515 Authenticity Push
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1717 Nihei and producer Akihito Kadowaki have both pushed hard on in-world authenticity. Professional swordsmen were brought onto the motion-capture stage so the in-game sword work reads as plausible, which Nihei has argued makes the more fantastical parts of the game (the Oni Gauntlet, the Genma, the Malice) land better because everything around them feels grounded.
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1919 Development Status
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2121 The Capcom Spotlight stream on March 5, 2026 confirmed the team is in the final stages of development and reaffirmed the 2026 release window.
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2323 Stage Appearances
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2525 Nihei has been the most visible member of the development team across the game's public appearances. At Tokyo Game Show 2025 he played the closing portion of the Kiyomizu-dera demo on stage himself, including the cart-puzzle traversal section and the Sasaki Ganryu boss fight, after Yoshimasa Hosoya played the opening segment. He has also appeared in the Capcom Spotlight 2026-03-05 stream, framing the Overview Trailer with the same "not a Soulslike, not open-world" pitch he has used in print interviews.
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2727 Authenticity Goals
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2929 In multiple interviews around the game, Nihei has been clear that authenticity is his most important non-mechanical goal. The team consulted with officials at Kiyomizu-Dera Temple to verify that the in-game depiction of the temple grounds reflected the real-world site. Professional swordsmen were brought into the motion-capture stage so that Musashi's swordwork would read as plausible to viewers familiar with traditional Japanese martial arts. Nihei has argued that grounding the everyday combat in this kind of physical research is what makes the more fantastical elements (the demonic Genma, the corrupting Malice, the relic-driven Oni Gauntlet) land harder, because the player has already accepted that the rest of the world is real.
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3131 Combat Philosophy
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3333 Nihei has framed his combat brief as bridging two audiences. The deeper layers of the toolkit, including Issen timing and the Break Issen execution variants, are tuned for action-game veterans, while the easier difficulty options have been tuned so that a player who normally avoids action games can still pull off the flashy counters that define an Onimusha encounter. The Tokyo Game Show 2025 demo shipped with two difficulty levels, and Nihei has said the easier setting was the one the team spent the most time tuning specifically because it sets the floor for the audience that has not played a hardcore action game before.