The words ‘wacky’ and ‘Japanese’ are almost as synonymous as the Eiffel Tower is with France. But somehow, the image of Japanese demons running amok on the Champs Elysees isn’t something that springs so quickly to mind. Join me then, in suspending your disbelief, because Onimusha 3 somehow manages to incorporate such disparate elements as medieval Japan, Paris, and everyone’s favourite French actor Jean Reno into a coherent, working premise for a game.
Somewhat typically of Capcom sequels, Onimusha 3 retains the same core hacking, slashing and key-hunting gameplay of its forebears whilst incorporating a few subtle refinements. The newer additions to the gameplay (including a Navi-esque fairy assistant) feel more like having extra icing than having a better cake, but are welcome nonetheless. The most immediate and striking change in this incarnation is that the pre-rendered 2D backdrops have finally given way to fully 3D environments. The added depth allows for highly detailed and convincing environments, which really show off the outstanding graphics. Highly detailed characters dart smoothly around the sharply textured locations, accompanied by some colourful and pleasing special effects.
Curiously though, the game hangs on grimly to its anachronistic fixed cameras. Whether this is a considered effort at consistent direction or just a missed opportunity is debatable; but ultimately, the stiff, occasionally awkward viewing angles don’t always sit well with the new 3D environs. The same old limitations are present here as before, often forcing you to fight unseen enemies who lurk just out of shot, or momentarily allowing your character to disappear from the screen. This is poor reflection on a developer with a long (albeit patchy) history in survival horror-style games.
When you can see it properly though, the combat is solid and benefits from enhanced, Dual Shock-based controls. A good range of moves and weapons are available to both characters, and the levels of aggression, timing and strategy required are well-balanced. Jacques possesses a whip-based repertoire that plays and feels very differently from the familiar Samanosuke, adding welcome contrast as the chapters alternate between characters. Jacques’ chapters make far more use of the third dimension, with the odd bit of whip-slinging chasm jumping and scaling of scenery to break up the proceedings. The puzzles, for what they are worth, are very much secondary to the butt-whipping and levelling up. Searching for valve handles won’t tax your brain, but the circuit-boxes and other minor puzzles provide a pleasantly unobtrusive diversion to the carnage.
The story progresses through some mercifully brief cutscenes that appear at well-pitched intervals. The voice acting is slightly wooden, just as you’d expect, but the tension-inducing score and usual assortments of clangs and chinks add well to the game’s atmosphere. The presentation is rounded off by an astoundingly lifelike CG intro, which is noteworthy despite adding nothing to the gameplay, and the unlockable extras provide additional incentive to see the multiple endings. Be warned, though – a lot of perseverance is required to gather the Genma souls required to unlock these bonuses.
Deriding Onimusha 3 for it’s repetition of old themes would be akin to slating a leopard for having spots; still, it must be said that it could have been a great game rather than a merely average one if it backed up it’s shiny new exterior with some added substance. Expect to be pleased, but don’t expect any surprises.
