OKAMI
Capcom
Rated T
Available on PlayStation 2
THE VERDICT:
Okami’s unique art style and crisp battle system make it one of the sharpest adventure games in years.
4/4 stars
Roger Ebert is adamant that videogames cannot be art. Well, anyone with anything greater than 20-600 vision should be able to tell that “Okami” is undeniably artistic, from the lightly painted backgrounds to the thick, almost tangible inking that acts as shadowing. This game is not, however, just an attempt to be visually stunning. Nearly every aspect of the game has been fine-tuned to offer a deep, ever-evolving quest of Zelda-like proportions.
From the moment the game begins, “Okami” is gorgeous. The presentation of the cel-shaded graphics far exceeds that of any previous game, including “The Legend of Zelda: Wind Waker.” Whereas “Wind Waker” portrayed a lighter, more cartoon-oriented art style, “Okami” manages to look like a living, breathing Katsushika Hokusai woodblock print, complete with vertical nameplates of all the distant areas onscreen. “Okami” is arguably the most artistic game ever made, on par with such visual and atmospheric masterpieces as “Shadow of the Colossus” and “Ico.”
Besides the sheer visual elements, art maintains a very complex role in the game. Whenever a new monster is encountered in the world, a detailed scroll drawing flashes on the screen to announce its entrance. The main character of the game, a wolf/sun goddess named Amaterasu that brings forth grass and flowers as she runs, harnesses the power of what is known as the “Celestial Brush” to solve puzzles and defeat enemies.
The Brush Techniques, acquired at a very steady pace throughout the game, are accessible to even the most artisticly-challenged painters. By simply pressing the R1 button, the camera view transforms into a canvas with a brush hovering over it. By drawing one of many symbols associated with the techniques, gamers can do anything from start fires to plant bombs to create footholds on otherwise impassable walls. If anything, the use of the brush in the game is too easy, but the constant acquisition of new and upgraded brush powers keeps the concept fresh.
The most annoying aspect of the game, and really the only problem, is the voices used by the characters. No voice acting here, folks, just random, guttural noises from each character that sound much more like the language of a mouse than a human. Again, this is more of a slight annoyance that is not hard to get accustomed to, but an annoyance is an annoyance nonetheless.
The storyline of the game is one of its greatest assets. Set in a magical era in Nippon (Japan), the tale spreads out like a humorous Greek myth, complete with gods and goddesses, talking warrior dogs and an inch-high, easily-aroused bug man by the name of Issun, Amaterasu’s constant companion. OK, so maybe it’s not that Greek.
Despite the grave situations presented to the game’s heroes, humor springs up at nearly every turn since Issun seems to lack the ability to take things seriously. He gawks at well-endowed priestesses, challenges enemies nearly 1,000-times his size and even manages to be temporarily eaten by a cat god.
The presentation of the Brush Techniques is even humorous, poking fun at the fact that the beings granting Amaterasu the powers are deities, bumbling though they are. One of the funniest moments in the game occurs when Amaterasu and Issun meet Kasugami, the God of Mist, who takes the guise of a drunken sheep. The scene that follows has Kasugami attempting to dodge sitars (that’s right, sitars) being thrown at him by no one in particular. It’s simple to see the sheep is not the most agile of creatures.
The battle system accelerates at a steady level as with the Brush Techniques. Amaterasu can buy new moves and powers from dojos around Nippon using Yen she finds in battles and scattered around the world. Three types of weapons exist, each available as either a primary or secondary weapon with different results for each. Reflectors, large mirrors, can be used as bludgeoning discs. Rosaries act as whips with divine electricity running through them, shocking enemies repeatedly but not slowing them down very much. Then there are the glaives, which are basically large swords with the ability to charge up power for stronger attacks. These variations allow for customization of fighting styles based on the enemies at hand, though the rosaries always seemed a little more useful than the other weapons. Also, accessories can be found that grant special powers like fire immunity and the ability to heal by paying money.
Battles begin in a few different ways. In the world map, Demon Scrolls wander around, chasing Amaterasu until they touch her, bringing up a barrier around the wolf that only goes away if repeatedly stricken in the right place, or all enemies are killed. The problem with the scrolls is there never seems to be any real reason to rush into battle with them. It’s best to just run around them and not waste time, since plenty of battles present themselves on their own.
The form of leveling up in the game is a little lacking as well. Instead of gaining experience points from battles, Amaterasu receives “Praise Points” by discovering hidden clovers, bringing dead trees back to life, accomplishing side quests for other characters and feeding animals that are scattered all across Nippon. These ways of leveling up are acceptable, but something should have been added to allow for gaining experience in battle.
Overall, the game gives a very unique glimpse into Japanese mythology with the most unique art styles ever presented. No major complaints can be lodged with the game, which may be the last great game for the PlayStation 2.