Onimusha: Way of the Sword is best when it’s silly, and despite some gloomy open world slogging, sometimes even remembers it
Onimusha: Way of the Sword opens with a comedic sequence that stands out among typical fantasy action games. The protagonist, a wandering ronin named Musashi, awakens under a bridge and finds himself in increasingly absurd scenarios—delivering a bewildered British-accented exclamation at starving street urchins, then being chased through a muddy village by numerous martial arts students, which he fends off by kicking wooden planks and rescuing wayward dogs. This opening demonstrates goofy, brash humor that effectively differentiates the game from more serious fantasy slashers, with solid combat mechanics supporting the comedic tone.
The game’s strengths, however, appear limited to these early moments. According to the review, the experience deteriorates as players progress into open-world exploration sections described as “gloomy” and tedious, creating a tonal disconnect from the engaging opening. This shift represents the game’s central weakness—brilliant execution of comedic, irreverent humor giving way to conventional open-world design conventions that undermine the established tone. The review suggests that Onimusha: Way of the Sword works best when leaning into its silly sensibilities rather than pursuing darker atmospheric elements, indicating that tonal inconsistency between its early promise and later progression is a significant flaw.