he original Okami is a stone cold classic in my book, right up there with any game of the last generation. However, its classical Japanese themes and gorgeous hand-painted graphics failed to strike a chord with gamers when it was released in 2006 on the PlayStation 2. In the time since then, its creator, Clover Studios – Capcom’s “art house” wing which also made the Viewtiful Joe series – has been sadly dismantled. Thankfully, Okami is being re-released on the Wii in a lovingly done port by Daxter and God of War: Chains of Olympus developer Ready at Dawn.

Okami casts the player as Amaterasu, a white wolf possessed of magical powers implemented through the Celestial Brush. This tool allows the player to paint on the game screen like a canvas, using it to repair in-game objects, make trees bloom, or perform slashing attacks on enemies. There’s really never been anything quite like it before, and the balance between deliberate brush strokes, puzzle-solving, and hectic action Okami achieves is quite remarkable.

While the novel gameplay and awe-inspiring art style will be the hook for many, the tale told here is one filled with heart and humor. Inspired by a deep love of nature, Okami spans the centuries, unfolding a complex battle between good and evil. There’s an almost silly sense of humor at play too, mostly due to Issun (your pint-sized companion) and Susano (a vain drunk who’s convinced he’s a legendary warrior). Even better, all the characters and events of the game reveal a surprising and hidden depth. Trust me, by the time you’ve vanquished the eight-headed dragon Orochi and the forces of evil, nothing will be quite what you thought it was in the beginning.

While I’d like to go on pointing more amazing things about Okami, I must say that the Wii is not my preferred console on which to play this game. While the motion controls seemed like a perfect fit, in practice it’s much more imprecise than the PS2’s analog stick, making many moves more difficult to perform accurately (this is especially frustrating during the scripted Susano events). I did manage to get used to it, and – in the end – it’s a small blemish on what is otherwise a full-on masterpiece.