Capcom producer Motohide Eshiro, who previously directed Onimusha 2: Samurai's Destiny and worked as a planner on the original Onimusha: Warlords, has shared insights into the early development and enduring appeal of the samurai action series. Speaking with Game Informer at Capcom's Osaka headquarters, Eshiro detailed the surprising origins of Onimusha, its evolution across its first two installments, and the key elements that propelled its success.
From Biohazard to Sengoku
The genesis of Onimusha lies in a discussion among Resident Evil producers who, having achieved success with pre-rendered graphics and gunplay in their survival horror series, were curious about applying similar techniques to a close-range, action-based combat game. The Sengoku period, or Warring States period in Japan, was chosen as a fitting backdrop for this sword-focused gameplay. "Setting it during the Sengoku period... would provide them a good setting to essentially have this close-range combat system with swords, so that’s where that [setting] and code name originated from," Eshiro explained.
Eshiro joined the development of Onimusha: Warlords after its core design was already established. However, for the sequel, Onimusha 2: Samurai's Destiny, he took on the role of director with a mandate to expand the game's scope. "The first game was a very complete package, but it was also quite simple," Eshiro stated. "So, in approaching the next project, the sequel, we wanted to expand on the scale and really make players feel that the world was more alive and more liveable."
Expanding the Experience
To achieve this sense of a more lived-in world, Onimusha 2 introduced new mechanics, including a friendship system and allies, which aimed to deepen players' connection to the characters through human drama. Visually, the series also saw significant improvements over the two decades since its inception. Eshiro expressed being "very surprised and impressed" by the evolution of video game graphics, particularly within the Onimusha series.
The discussion also touched upon the use of pre-rendered backgrounds, a hallmark of early Resident Evil and Onimusha titles, which Eshiro acknowledged as a technical limitation of the era. While modern AAA games have largely moved away from this technique in favor of full camera control, Eshiro noted that pre-rendered scenes offer a unique ability to craft highly curated and immersive environments, a sentiment echoed by Onimusha: Way of the Sword director Satoru Nihei, who also pointed out the trade-offs with free camera control in maintaining focus on specific scenic elements.
Enhancing the Oni Form and Key Success Factors
Onimusha 2 also notably allowed players to transform into the Oni Form at will, a departure from Onimusha: Warlords where it was a cinematic event. Eshiro noted the team's desire to "double down on the cool factor" for the sequel, enlisting Japanese film director Keita Amemiya to design Jubei's demonic transformation. Eshiro also humorously addressed the long-standing question of whether Resident Evil 4's iconic jet ski sequence was inspired by Onimusha 2, stating with a laugh, "I really doubt it."
Looking back at the original games' success, Eshiro attributed it to several key factors. The prominent use of real-life movie stars and actors as main characters was a significant draw, which was relatively uncommon in games at the time. Additionally, the gameplay itself was distinct, featuring unique mechanics such as soul absorption and the Issen combat system, which was further developed in Onimusha 2 with Chain Issen and Charge Issen. Even the comparison to Resident Evil's pre-rendered backgrounds was seen as a positive, as Onimusha offered its own unique take with its swordplay and setting, all contributing to the series' strong reception in the early 2000s. Since Onimusha: Warlords' release in 2001, the series has sold over 9 million copies, with the upcoming Onimusha: Way of the Sword aiming to add to that total.