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Additionally, the lightning rods that transmit the Majin's electrical powers often must be placed very precisely, even though it's not easy to tell exactly where the player's character will put them down. I sometimes found myself missing a jump three times in a row, then making it, with no discernible change in my position or timing. The difficulty of both aspects fluctuates, in part because the game's controls are less precise than the problems they're meant to solve demand. The game's geography always feels narrow and confined, never open and majestic, and the kingdom never feels like a whole.Ĭrossing these rooms typically involves a bit of platforming and solving a co-op puzzle with the help of the Majin's powers.
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However, Majin and the Forsaken Kingdom is decidedly low on vistas, as each of the main zones is really just a series of rooms with one or two exits. In an example of exceptionally bad planning, the local boss is always susceptible to the power it is lightly guarding, and defeating it unlocks the next area. In each zone of the land one of the Majin's special abilities has been hidden. Progress through the kingdom substantially resembles a Zelda game. Once battle has been joined in earnest, most enemies are relatively simple to defeat, although some require a bit of tactical planning. As a result, combat often requires the player to thin out enemy forces through stealth or to take them down via environmental means like rolling boulders onto them before the Majin joins the fight. Stabbing enemies with the spike is also the way most of the stand-up fights end, although thankfully those kills aren't as up-close and graphic.Īlthough the Majin is large and strong, he gets swarmed easily, and the AI is better about verbally telling you it's going to use an ability than actually using it. The repetition of this disturbing animation is probably where the game earns its T rating.
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That's not to say it's nonviolent: the stealth kills feature him ramming a spiked weapon into the back of an enemy, causing an eruption of black, oily fluids. The dude part of the duo isn't much use in a straight-up fight, so much of the game features him creeping around in stealth-lite gameplay. Without the proper supporting cast, the Majin's broken speech quickly begins to grate rather than endear. His appearance isn't particularly realistic, but the character model looks completely out of place next to the cartoonish Majin. The Majin's human helper isn't a child or even a teen, but a twenty-something dude with a scraggly goatee and the most freakish abs since Final Fantasy X.
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This may sound like the basis for a light-hearted and fanciful game, but that impression doesn't hold up.Īs examples, some of the animals talk in cute voices, but others talk like secretaries reading lines during a lunch break.
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Aided by a bunch of cute talking animals, a human hero must guide the big, dumb, baby-talking Majin to free the land from the clutches of darkness. Unfortunately, the kingdom was attacked by "darkness," the generic enemy that has destroyed a thousand worlds. The Majin of the title is a big, goofy troll-like creature that was once the protector of a mighty kingdom. Sometimes, what emerges is gibberish like Majin and the Forsaken Kingdom a game that feels like it was designed by a committee that never met. More often, we get a decent game where features seem like they came from a memo sent by the corporate office. In the best-case scenario, everyone gets on the same page and a coherent experience emerges. AAA games are usually made by teams of designers, artists, and programmers. WTF Quit telling me you're going to use the lightning and just use the freaking lightning, big guy!Īlthough critics and the gaming press have a fondness for the big names, most games don't have a single auteur guiding their design. LOW The tedious final dungeon, featuring repeated appearances by an irritating mid-boss. HIGH The slurping giggle the Majin does when you're bringing him fruit.