This is more than a game, it is an experience. Never have I played a game where the gameplay, music, visuals, story, even the excellent voice acting, perfectly convalesce into a symphony for the senses. It really makes an argument for games being considered as valid works of art. Playing this game is like exploring an inter-dimensional art museum, and, I believe, will turn many people who are of the thinking that video games cannot be art.
The only reason it is not a perfect ten is because of some gameplay issues. Platforming is good for the most part, but it can be difficult maneuvering around some of the more psychedelic stages. When landing from a double jump, for instance, Enoch does not have a good connection with the ground. As a result, he tends to run forward immediately after landing, which proves difficult with small or narrow footings floating above oblivion. The platforming controls are just very touchy overall, and nowhere near the 'perfect' platforming we see in games like Mario Galaxy and Ratchet and Clank.
As for combat, starting off is a bit slow. As you grow in weapons and tactics however, you will be pulling of some pretty incredible and visually appealing moves. More than once I did something, usually with no idea how, that just made me go "Whoa"! Nearing the end of the game however, combat can get to the point of being tedious. At that point I was close to the end and more than happy to mow down a few more enemies just to see the next stunning cinematic. Without spoiling anything, the ending is both head scratching, beautiful, and inspiring. An excellent end to an excellent game. In closing I want to say that this game perfectly melds the Judeo Christian story with Japanese humor and quirkiness. They work surprisingly well together, and I can't wait to see what Enoch has in store for him in the future. PLAY THIS GAME. It needs to be recognized for the work of art that it is, and you will not be disappointed.
... then you'd be dead, because the visual styles -- that's right, styles, with everything from a futuristic motorcycle level to a bright, Mario-like 2D platforming section with cheery Nephilim -- are killer stuff, even if they do occasionally become an eye-sore. (Whoaaan, I'm looking at you, Armaros.)
The problem with El Shaddai is that you'd need something to resurrect you in the first place to appreciate any of this, because everything else, from the story, to the design, to the cameras, to the battle system, is an exercise in suicide-encouraging frustration. You'll find yourself continuing just out of sheer curiosity (you can stop after Chapter 7, by which point you'll have seen everything), and don't get me wrong, there are some great moments.
But moments do not a game make, especially when you've no idea what's behind them. The idea of a rock-scissors-paper structure of fighting, in which you "purify" the weapons of one enemy in order to take down another (and repeat) is a clever one, except that I spent the whole game unclear on how to use the "Gale" (a long-range laser, like something out of Zone of the Enders), and frustrated with the slow speed of the "Veil" (fists). God of War balanced its weapons and allowed you to switch between them; El Shaddai handicaps you with them, often putting you in situations where you'll be stuck using an inferior weapon -- particularly frustrating in the overlong (and not particularly difficult) boss fights.
It's a daring game, and I give it credit for that. But when you walk on the razor's edge like this, you're just asking to be cut.