The lush Mt. Kafuku, home of the Goddess.
The source of turmoil, the defilement.
The defilement corrupts the mountain, and the 12 masks containing the power of the Goddess are stolen.
The Maiden Yoshiro & her guardian Soh purge the defilement and perform a ritual.

Embracing the company slogan, “From Osaka to the World,” Capcom will release Kunitsu-Gami: Path of the Goddess tomorrow, July 19. An original action-strategy hybrid that weaves its gameplay into a unique Japanese-inspired world, players take on the role of Soh, the guardian of the Maiden Yoshiro, and must protect and fight for her, making use of the two phases; day and night, to prepare for and fend off the looming threat of the Seethe respectively.

The game takes inspiration from several Japanese traditions, helping inform everything from the aesthetic to how Soh fights in a “sword-dancing” style – and the influence is far more than skin-deep. With the release of Kunitsu-Gami: Path of the Goddess coming on Friday, July 19, Capcom has partnered with practitioners of one of Japan’s oldest traditional performing arts, Ningyo Joruri Bunraku (known more simply as Bunraku) – a comprehensive art form that integrates Tayu (narration), Shamisen (a three-stringed Japanese musical instrument), and puppeteering. A special video titled “Ceremony of the Deity: The Maiden’s Destiny,” featuring living national treasure and master puppeteer Kanjuro Kiritake the Third, portraying the priestess, has been released as a prequel to invite players into the world of Kunitsugami: Path of the Goddess.

Ahead of the release of the video, the Xbox Wire Japan team participated in an interview at the National Bunraku Theatre in Osaka, where the performance was staged and filmed. The interview features Master Kanjuro Kiritake, Kunitsu-Gami director Shuichi Kawata, and Capcom’s Tairoku Nozoe, who scripted for the Bunraku performance. The team talked us through the influence of Bunraku on the game, the unique creation of a Bunraku performance for the game, and more.

First, we’d like to hear more about the background of this collaboration. We understand that the challenge to collaborate began when the Capcom team reached out with the idea, and Master Kanjuro graciously accepted to help out. Could you tell us about the process leading up to this?

Nozoe: If we were to trace things back to its origin, it might be when Kawata, who was developing the concept for Kunitsu-Gami: Path of the Goddess, shared his passion for Bunraku with me. Kawata is a fervent fan of Bunraku, and his enthusiasm led us to attend a performance together. We were both deeply moved by the performance, and it made us realize that such fascinating art form existed out there, convincingly withstanding the test of time. This inspired us to reach out to the National Bunraku Theatre. Kawata’s connection with the world of Bunraku also helped, allowing us to have various discussions and propose the idea for this collab. Kunitsu-Gami: Path of the Goddess was created with a sense of traditional arts and performances in mind, so I am incredibly moved that this collaboration has come to fruition in such a big way.

Master Kanjuro, when you first heard about the proposal to work and collaborate with a game through the arts of Bunraku, what were your initial thoughts?

Master Kanjuro: I remember feeling a bit troubled because I couldn’t immediately organize the concept in my mind, and I wasn’t sure how to make the project a reality. However, given my extended experience with various collaborations and my inherent love for collaborations through the art of Bunraku, I offered to help if I could. I believe that by the time of filming, I had managed to clear my mind and focus, resulting in the wonderful video.

Master Kanjuro, do you personally play video games? Or do any of the people close to you enjoy playing games?

Master Kanjuro: Games are fascinating because they allow you to immerse yourself in the story happening on the screen, and moreover share various narratives that are embedded in Japanese culture with the world. All of my children love games, and I also enjoyed the early, simple video games when I was younger. I remember having to guide my children to play in moderation, as they tended to play a little too much under the past standards. Now, it’s mainly my grandchildren who play games, and they often invite me to join. When I have time, I enjoy playing with them. I still get very absorbed in gaming, so I try to be a bit careful [laughs].

I heard that when discussing the project, you felt a personal connection with Capcom’s catchphrase, “From Osaka to the world”.

Master Kanjuro: Exactly. Bunraku is an art form that was born and raised in Osaka, just like how Capcom has continued to nurture this same land. I felt a strong connection with the idea of sharing and spreading our efforts further, beyond Osaka, to the rest of the world.

As the project progressed and you saw the game footage and concept art for Kunitsu-Gami: Path of the Goddess, you became very enthusiastic and offered various advice on the creation of the puppets. Could you share your impressions when you first saw the game footage, and your thoughts as the project progressed?

Master Kanjuro: First and foremost, I was captivated by the visual beauty and found the character designs very interesting. Having been away from games for a while, besides playing with my grandchildren, I was honestly amazed by the advancements made in modern games. At the same time, it increased the challenge of figuring out how to create these characters as puppets. My expertise lies in performing in “jidai-mono”, which focuses on historical events and people, and not in fiction. So I initially thought this project would involve simply making and perhaps slightly manipulating the puppets, but when I learned that a full story and script were being written, I realized the collab was transforming into a very profound, enjoyable, and expansive project.

The script was apparently written by none other than Capcom’s Nozoe-san.

Master Kanjuro: At first, I didn’t know who had worked on the script. But after a read-through, I found it to be very profound, packed with just the right ingredients, and felt it was very compelling. What I found particularly interesting about this script was that, unlike many other scripts where it is difficult to pair with a suitable musical accompaniment, I could envision what type of music would be best fit from the first read. Although the final music will always be composed by the shamisen player, I had a strong impression of how the music would feel like, and I believe it turned out to be something truly exceptional.

As a result, I ended up being busy with this project throughout June, a month when I was supposed to be on a break with no performances assigned. However, my original aspiration when I was young was to be a manga artist, and I have always loved illustrating, creating things, drawing, and designing. The feeling of anticipation, seeing the puppets gradually nearing their final forms, made June a truly fulfilling month. Incidentally, the magatama decoration [a ceremonial, comma-shaped object considered sacred] on the Maiden puppet was entirely handcrafted by myself.

Do you have any comments you would like to make, with the collaboration between Bunraku and Kunitsu-Gami: Path of the Goddess soon coming to a full circle?

Nozoe: Kunitsu-Gami: Path of the Goddess is a game that values tradition while also embracing new challenges. For this collaboration project, the focus was not so much on expressing the essence of the game through the world of Bunraku, but rather on how to align and highlight the charm of Bunraku within the world of the game. Given that, what impressed me the most when Master Kanjuro supervised the script was how skillfully he adjusted everything with a keen sense of balance. He knew exactly when to align with the expressions that Kunitsu-Gami: Path of the Goddess has, and carefully incorporated the elements we felt should retain a Bunraku-esque touch. As a result, I feel the Ningyo Joruri Bunraku that came out of this project maintained a very satisfying balance.

Master Kanjuro: I am very glad that you are happy with the outcome. Would you like to consider a sequel?

Nozoe: Yes, please!

Master Kanjuro: I don’t want to trouble everyone at the theater, but I’d like to try performing this as a full-length play. It would be interesting to turn this into a play and adjust the story to work on the stage. I’m delighted that such new attempts can be made with Ningyo Joruri Bunraku, which originated, rooted, and grew in Osaka. The “3-man manipulation” technique, now considered standard, was devised in 1734, about 290 years ago. It’s both fascinating and gratifying to see that the Ningyo Joruri, which has preserved this technique for so long, is now connected with the latest technology and content in gaming.

Nozoe: During the development of the game, we were always inspired by the direction and movements of Ningyo Joruri Bunraku. Even before discussing the collaboration, Kunitsu-Gami: Path of the Goddess was already heavily infused with elements of Bunraku. Additionally, the method used to create the environmental elements in the game was quite unique, where we first created miniatures and then digitized them. This emphasis on realism, which is very important to Kawata-san, made our efforts within the collaboration align well.

I am aware that some people may read this blogpost before watching the performance, while others might read the article after having already seen it once and then are motivated to watch again. Could you share any tips for those who are experiencing Bunraku for the first time?

Master Kanjuro: As a puppeteer, I’d like you to carefully observe the synchronized movements of the puppets performed by the three puppeteers. The omozukai (head and right hand), hidarizukai (left hand), and ashizukai (legs) are three entirely different individuals working together in synchronicity to animate a single puppet. This technique has been refined over approximately 290 years, and through this, you can experience just how well-crafted the art of Ningyo Joruri Bunraku is. While it may be challenging to grasp everything in one viewing, I believe that if you watch it multiple times, there will be moments when its beauty may resonate with you. Once that happens, you’ll likely begin to enjoy any performance you watch. Some may feel unsure about what is being said or narrated, but don’t worry. The narration is crafted in the most beautiful Japanese language, and over time, you will be able to deepen your understanding with the help of a synopsis at hand. I hope you will pay close attention to these aspects.

Nozoe: Since Kunitsugami: Path of the Goddess is the focal point for this collaborative development, it might be good to first get to know its story. In the original work, there are the main characters: the guardian, Soh and the Maiden, Yoshiro, and their story is something that has been repeated many, many times. The game itself only highlights one of the many. Given this, “Ceremony of the Deity: The Maiden’s Destiny” can be considered a prequel to the main story of Kunitsugami: Path of the Goddess. How does Soh and the Maiden featured in this prequel connect to the main story? That is a mystery you might unveil once you play the game, and then come back to watch the performance again.

Kawata: We have prepared mechanisms that will further your understanding of Kunitsugami: Path of the Goddess when you watch the play after playing the game. Additionally, if you reflect on the ending of the main story while watching the Ningyo Joruri performance, you will find yourself saying, “oh, that’s why”.

Kunitsu-Gami: Path of the Goddess will be available on July 19 for Xbox Series X|S, Xbox One and Windows PC, and Xbox Game Pass subscribers will be able to play the game from day one. In addition, this title is compatible with Xbox Play Anywhere, allowing cross-play and transfer of saved data between Xbox and Windows 10/11.

There’s no doubt that Flintlock: The Siege of Dawn stands as part of a lineage of action-RPGs – developer A44 has been open about calling its new game a “Soulslite” for some time. But having spent several hours with the game, even in its early stages, it’s clear that that’s only a part of the picture.

Flintlock introduces an all-new fantasy world with, for want of a better term, a ‘gunpowder-punk’ aesthetic . You’ll guide the tortured Nor on a quest to reclaim her beleaguered world and exact revenge on vicious gods that have brought armies of the undead along with them. Accompanied in an uneasy alliance by a lesser God, Enki, Nor uses melee axe combat, old-fashioned gunplay, copious explosives and magic to make her way through the world.

And the influences are far from simply coming out of FromSoftware’s Souls series. Flintlock is a true melting pot of gaming ideas, seamlessly combining familiar concepts from some truly unexpected sources. If you think you have a handle on what kind of game this will be, you might be surprised to learn some of the tricks it’s pulling. To help you prepare, here are some of the nods I’ve noticed along the way.

Souls Games

We’ll start with the most obvious – the Souls games are a key text for Flintlock. Like those games, travelling through the world is a case of finding checkpoints (in this case, these can be Campsites or Loadstones), taking on enemies who can take you down in just a few quick hits, and banking currency (here, it’s Reputation) which will be lost upon death and needs to be reclaimed when you return.

Like FromSoftware’s games, Flintlock is exacting, and not afraid to punish you for a lack of concentration (although difficulty levels are offered here). And like those games, it lends a sense of excitement and dread to every new area, every new enemy type and, most particularly, every boss.

Modern Action Classics

Flintlock’s combat may borrow mechanical ideas from Souls games, but in practice there’s a flexibility and snappiness that may remind you more of classic action series, from Devil May Cry to God of War. Combining axe combos, gunplay (which is both a ranged attack and an attack-interrupting parry of sorts), and magic – Enki can be used both for stat debuff attacks and powerful ‘Ultimates’ – is a faster, more frenetic process than most Souls games.

There’s also an element of reward for skilful play here too – the game actively pushes you to chain together long combos and utilize different tactics, which brings me onto the next section…

Gambling

This is where it begins to get truly unexpected. One of Flintlock’s key ideas is in how you collect Reputation. Practically every action you take in combat will offer you a certain amount of Reputation, and defeating enemies offers a chunk each time. But there’s a twist: for every kill, you gain a multiplier to the amount of Reputation you’ll take home. But take a single hit, and all of that is gone. When you’re happy that you’ve done as well as you can, just hold left on the D-pad and you’ll bank all that Reputation.

It effectively adds an aspect of gambling on yourself against the game – do you trust yourself to perfectly take down another enemy after a tough fight, or do you bank and start the process again?

Open World Conquering

Flintlock’s story revolves around reclaiming the world from its invaders, and that’s reflected mechanically, too. Aside from having a slightly more explorable world than many of the games it’s drawing on, Flintlock also introduces an idea we’re more familiar with from the likes of Far Cry or Assassin’s Creed – conquerable enemy outposts.

When you enter an outpost – known as Hamlets here – you’ll be tasked with finding and dispatching the leader of the enemy faction stationed there. When you finally do, you’ll unlock that Hamlet, cleaning up damage, returning its population to the streets, and opening up checkpoints, fast travel, shops, and side quests. It lends a real feeling of progression to your journey, seeing Nor physically taking back lost locations as she goes.

Platformers

To go along with that sense of exploration, Flintlock offers Nor a wider moveset for getting around. In the earliest stages, you gain the magical ability to use gunpowder for double jumps, or longer dodges, which can be combined to help you reach ledges or cross longer gaps. But soon, Enki steps in to offer something more unusual – Rifts.

Rifts are magical warp points, unlocked by finding shrines adorned with skulls – get near a Rift, and press Y, and you’ll transport to it, subsequently offering you to option to drop down, boost out, or jump higher. Soon, you’ll be flying from one Rift to another, and the game will start offering up puzzles about how to reach certain locations by using a network of Rifts. It lends Flintlock an extra string to its bow, not to mention a sense of verticality we don’t often see from this kind of game.

It’s perhaps the clearest marker that A44 are doing things very differently here – I’d recommend you take a look for yourself when this unique action-RPG arrives on Thursday, July 18 for Xbox Series X|S and PC, coming day one with Game Pass.

Flintlock – Deluxe Edition

Kepler Interactive

☆☆☆☆☆

★★★★★

$44.99

Pre-order

The Flintlock: The Siege of Dawn Deluxe Edition includes the base game and three customization packs for Nor.
– Flintlock: The Siege of Dawn – Noble Outfit
– Flintlock: The Siege of Dawn – Champions Outfit
– Flintlock: The Siege of Dawn – Vanguard Outfit

Flintlock: The Siege of Dawn
From games studio A44, makers of Ashen, comes an explosive Souls-lite, where Gods and guns collide in a battle for the future of humanity.

The Door to the Great Below has been opened unleashing the Gods and their armies of the Dead. The lands of Kian are besieged, the city of Dawn is on the brink of destruction. It’s time for the Coalition army to fight back. Embrace vengeance, gunpowder and magic as you embark on an epic journey to defeat the Gods, close the door and retake the world.

Your battle begins now.
Kill. All. Gods.