The greatest challenge for the creator of a sequel is trying to find the balance between new innovation and following the original tradition. The biggest complaint concerning The Legend of Zelda: Wind Waker is that it is too different than the other Zeldas. Meanwhile, when it comes to the Final Fantasy franchise, all we hear from the complainers is that the innovation in the series is all gone. Interestingly enough, there are people who take both of these sides in the same breath. Which argument is correct?
In Onimusha 3: Demon Siege, CAPCOM clearly tries to find the middle ground. Those who are fans of the series will most certainly recognize gameplay patterns that have been there since Onimusha: Warlords. However, many kudos to Capcom for trying to add enough new elements to each game so that it feels like a different ride in the same car. It is in the opinion of this reviewer that Onimusha 2: Samurai's Destiny, the second part, managed to feel much different than the first. Onimusha 3, though, must be good enough to feel different than the TWO games before it; a mighty task.
Having two real actors named Takeshi Kaneshiro and Jean Reno voice the roles of the main heroes of the game is quite a good way to start. Oh, we've seen Takeshi before, in Onimusha: Warlords. But Jean Reno? Doesn't he always play the bad guy in films? This time, he plays the role of a Parisian police officer from the year 2004. Put these two on the cover, and that's a good way for Onimusha 3 to look original.
And the game starts begins with a bang. Every Onimusha game begins with an absolutely beautiful CG opening, and the one in Onimusha 3 is the best one this reviewer has ever seen, hands down. An amazing opening would have been just normal and traditional; the third edition somehow managed to look both astounding and original.
So, we're off to a very good start. Everything is looking new and breathtaking. However, when controlling Samanosuke (Takeshi Kaneshiro), we're sadly reminded of the counter-intuitive controls and uncontrollable camera. Having to push up on the d-pad to walk towards the direction Samanosuke is facing, even if he is facing south, is always hard to get used to. Trying to reach a treasure chest in a corner, and then having the camera completely adjust its view is also quite an annoying reminder of the previous two Onimushas.(Thanx to Mr. Anonymous #2 for reminding me about the use of the analog stick! Still doesn't make up for the camera, but controls are lot more smooth with the analog, for sure!!--12)
Whether with the traditonal d-pad or with the analog, it's a joy to travel through highly detailed real-time graphics(so good, in fact, that this reviewer was fooled into thinking them as pre-rendered). The entirely credible scenery and structures of 16th century Japan is realized in full color and quality. Later, upon seeing the setting of Jean Reno's character (named Jacques Blanc—sounds like French name any dope can thing of), that being Paris, the renditions of Notre Dame and its classic surroundings are done just as well. The Onimusha series has always done an excellent job in showing traditional settings.
Of course, having beautiful graphics not only in background, but in costume, bestiary, weaponry, and special effects is a tradition with which nobody will truly have a problem. Neither will anyone have a problem with the Onimusha tradition of having these beautiful images combined with combat. See, anyone can do martial arts, as the movie “Kill Bill” quite fully portrays. The real challenge is doing martial arts and LOOKING good at the same time. Both Takeshi Kaneshiro and Jean Reno manage to look completely stylish with their wide range of moves and techniques. The former uses swords, staffs, and axes, while the latter employs new grappling skills with his whips and chains.
Sadly, even though Samanosuke does indeed have three new weapons, he fights with the same exact engine that ran in the first two Onimushas. With Jacques, it's a bit more interesting. As stated above, he can grapple his skeletal or demonic opponents with his ranged weapon style. He then has the option of filling them full 'o lead (though he claims to have ran out of ammo in his handgun in the beginning of the game) or with the harmful magic corresponding to whatever weapon he is holding. He can then throw these miserable enemies at the inevitable group approaching. He can also do a couple of other things with his whip-like equipment, but they are either stupid or useless. As Jacques moves along the field of combat, he can pick up and throw whatever objects on the ground that the developers deemed worthy of interaction into an enemy. This move is useless because one, it never works, and two, it's easier to kill the enemy without looking for an out of place object in the scenery. The other stupid ability is the developer's attempt to raise the importance of Jacques's weapon. There are little magic “fireflys” that happen to fly right above areas across which Jacques can never jump. Well, all he has to do is attach his whip to the fly and all is ok, thanks to that cool whip. At least it's much easier to do this move in this game than it was in Castlevania:Lament of Innocence.
Even though many people are happy to see Samanosuke return, it does get boring to use him after awhile. Even with the special attacks that can be ignited through the build up of souls through a special weapon, or attacking a creature right before its sword strikes, or the unstoppable might of the ogre-form. Jacques, who can do all of these things as well, does add an interesting gameplay element to the table once the controls are learned. However, all of the fighting in the game (and there is much of it) doesn't make up for the boredom that comes with the game and level design.
Capcom wanted to make the third and final Onimusha game a longer one. Apparently, they thought that the best way to do this was to add very annoying puzzle-solving that requires less brains than it does running around in circles. Let's ignore the fact that secret treasure chests, missing keys, and key items make little sense in a story about demons wanting to take over the world. Sometimes, it just feels like Nobunaga wanted to leave a trail for the heroes to follow. But let's ignore that and wonder why Capcom thinks that they can get away with forcing the gamer to run great distances along the map to find a secret item that is needed to unlock a door that is back across the entire map. Oh, the game is certainly longer in this case, because along those treks of back-pedaling, there are of course hundreds of demons in the way. The entire game is put together in this method, and it becomes very annoying after awhile. Near the end of the game, upon seeing something like “cannot pass wall with strange oval hole in center” and after seeing twenty other “obstacles” like this beforehand, it’s hard to find to motivation to carry on. Plenty of these solutions require switching between time eras, a flashy covering to what is basic and almost insulting puzzle solving.
Let's continue the “annoying” theme when it comes to the storyline. This aspect of the game does at first seem like it'll be good. However, it takes a mighty great writer to put together a tale spanning between cultures and times without sounding corny. Capcom didn't have such a writer. At first, they keep track of the culture shocks that must take place if a French man from 2004 finds himself in the place of a Japanese man from the 16th century, and vice versa. After awhile, however, things just get too unbelievable even in this fantasy world. Without ruining the story for anyone, there are just too many corny circumstances, too many things that we're supposed to take for granted and won't, and too much of what this reviewer hopes is bad comedy. Surely, some of these story instances aren't meant to be taken seriously.
However, it is pleasing to note that the Onimusha saga does finally come to an end. Once again, for fear of spoiling, there will be little said in this review as to the exact nature of the endings. But it is a very pleasant feeling indeed to have closure to this very long tale.
With that, we'll try to bring closure to this review . There are plenty of surprises and minor gameplay effects that can never be covered in a readable work, as well as the solid rock of the Onimusha engine on which this game stands, and the music which helps tell the tale is always appropriate. However, with Onimusha 3: Demon Siege, the third and final part came close to being one part too many. The originality in this series is pretty much gone. On the other hand, those who pick up this game as their first Onimusha title will most likely come away with being very pleased with what they play.
