Honestly, if you saw a screenshot of Enoch wearing designer jeans while fighting a literal fallen angel in a psychedelic neon void, you’d probably think it was a fever dream. It’s not. That is just a Tuesday in El Shaddai: Ascension of the Metatron.
Released back in 2011, this game didn't just break the mold; it shattered the mold and used the pieces to create a stained-glass window of pure insanity. Developed by Ignition Tokyo and led by Sawaki Takeyasu—the guy who did character designs for Okami and Devil May Cry—it’s a third-person action game that feels more like an art gallery than a piece of software. It’s loosely based on the Book of Enoch, an ancient Jewish religious work, but let’s be real: the Bible didn't mention Lucifel (not a typo) chatting on a cell phone with God.
Most games from that era have aged like milk. The textures look muddy, the mechanics feel clunky, and the "gritty realism" just looks gray and depressing now. But El Shaddai? It’s timeless. Because it never tried to look real, it still looks incredible on a 4K screen today.
The Visual Identity That Refuses to Age
The first thing you notice about El Shaddai: Ascension of the Metatron is that every level looks like it was painted by a different person who was having a very intense spiritual experience. One moment you’re in a world made of soft watercolors. Five minutes later, you’re platforming through a futuristic TRON-like landscape with blinding primary colors.
There are no HUDs. No health bars. No ammo counters.
You gauge your health by how much of Enoch’s armor has been ripped off. If he’s down to his jeans, you’re one hit away from death. It’s a bold choice. Most developers are terrified of leaving the player without a million icons on screen, but Ignition Tokyo trusted the player to just look at the character. It’s immersive in a way that modern "immersive sims" often fail to be.
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Why the combat feels so weirdly satisfying
Combat is deceptively simple. You have one attack button. Just one. But the depth comes from the timing, the rhythm, and the "purification" mechanic.
There are three main weapons: the Arch, the Veil, and the Gale.
- The Arch is a curved blade that's great for aerial combos.
- The Veil is basically a pair of giant shields that can also be used as heavy gauntlets.
- The Gale is a long-range projectile ring.
Here’s the catch: your weapons get "corrupted" as you hit enemies. They turn dark and do less damage. You have to press a button to purify them, which leaves you vulnerable for a split second. Or, better yet, you can knock an enemy down and steal their weapon. Stealing a weapon instantly purifies it and gives you a fresh tool to work with. It creates this flow state where you’re constantly swapping gear mid-fight, keeping the tempo high. It’s rhythmic. It’s almost like a dance.
The Story: Biblical Fan Fiction or High Art?
The plot follows Enoch, a scribe in heaven, who is sent back to Earth to capture seven fallen angels to prevent a Great Flood. He’s guided by Lucifel, an angel who acts as God’s right-hand man and apparently has access to 21st-century technology. Seeing Lucifel lean against a pillar in a crisp black suit, snapping his fingers to save your game while talking to "the Big Guy" on a mobile phone, is the kind of tonal whiplash that makes this game a cult classic.
It shouldn't work. The mix of ancient apocryphal texts and modern fashion—specifically the collaboration with Edwin jeans for Enoch’s outfit—is objectively bizarre. Yet, somehow, it creates a sense of the "eternal." The idea that heaven and the angels exist outside of time, so of course they’d have cell phones and high-end denim.
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The fallen angels themselves aren't just generic bosses. They’ve built their own "levels" on Earth, reflecting their specific obsessions. One angel, Ezekiel, has a world centered around "motherhood" and protection, while another, Sariel, is obsessed with the concept of human idol worship and pop culture. This allows the game to jump genres. One minute you're in a 3D brawler, the next you're in a 2D side-scrolling platformer that looks like a Japanese scroll painting.
The "Is that okay?" Meme and Marketing
If you were on the Japanese internet around 2010, you couldn't escape the "Daijoubu da, mondai nai" meme. In the game's trailer, Lucifel asks Enoch, "Is that equipment okay?" and Enoch confidently replies, "No problem." Then he immediately gets his butt kicked, restarts, and says, "Give me the best."
This meme actually helped the game gain a massive following before it even launched. It highlighted the game’s self-aware sense of humor. It knows it’s weird. It’s leaning into it.
Technical Reality: The HD Remaster and Beyond
For a long time, El Shaddai: Ascension of the Metatron was trapped on the PS3 and Xbox 360. If you didn't have that specific hardware, you were out of luck. Thankfully, a PC port hit Steam in 2021, and a Nintendo Switch version followed in 2024.
The PC port is... fine. It’s a basic port. It doesn't add a ton of new bells and whistles, but it doesn't really need them. The art style carries the weight. Running the game at high resolutions makes the brush-stroke effects pop in a way they never could on the PS3.
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However, it’s worth noting that the game still has its quirks. The platforming can be frustrating because the abstract art style sometimes makes it hard to judge depth. You’ll jump for a ledge, think you’ve got it, and then fall into the abyss because the "floor" was actually a background painting. It requires patience.
Why You Should Care in 2026
We are currently living in an era of "safe" games. Big publishers spend $200 million on titles that look like movies and play like every other open-world game. They’re afraid to take risks.
El Shaddai: Ascension of the Metatron is the antidote to that. It is a pure, undiluted vision. It represents a time when developers were still swinging for the fences with mid-budget titles. It’s a reminder that a game doesn't need a map filled with icons to be engaging; it just needs a soul.
If you’re tired of the same military shooters and "sad dad" simulators, this is the palette cleanser you need. It’s short—about 7 to 10 hours—meaning it doesn't overstay its welcome. It shows you something beautiful, lets you punch a few fallen angels, and then rolls the credits.
Actionable Tips for New Players
If you’re diving in for the first time, don't play it like a standard hack-and-slash.
- Watch the armor. Stop looking for a health bar. If Enoch’s clothes are tattered, back off.
- Listen to the music. The soundtrack is choral and sweeping. It often cues enemy attacks.
- Swap weapons constantly. Don't get attached to one tool. The game is designed around the "steal" mechanic. If you try to stick with the Arch for the whole game, you're going to have a bad time.
- Experiment with the delay. Tapping the attack button with specific timing changes your moveset more than just mashing will.
- Check the Steam Workshop. If you're on PC, there are some community fixes that help with controller compatibility and minor visual bugs.
The game is a trip. It’s flawed, yes. The platforming is finicky and the story is told in cryptic fragments. But you will never play anything else that looks like this. In a world of sequels and remakes, El Shaddai remains a singular, glowing weirdo.
To get the most out of the experience, play it on the highest difficulty you can handle. The combat system only truly reveals its complexity when you’re forced to master the weapon-stealing cycle. Once you find the rhythm, the game stops being a series of fights and starts being a choreographed piece of performance art. Go buy the Steam or Switch version, turn the lights down, and let the visuals wash over you. It’s the closest thing to a playable museum visit you’ll ever find.