October is here at last! All hail the triumphant return of long nights, creeping fog, and, best of all, horror gaming! As is my custom during this most morbid of months, I’ll be taking on five spooktastic titles for a variety of systems. There’s a malevolent mix of obscure oddities and well-loved standards headed your way, all united in their shared fixation on ghosts, demons, zombies, and other manic manifestations of the macabre. Let the terror commence!
First up is Majyūō (aka Majyuuou, “King of Demons”), a 1995 Super Famicom action-platformer by KSS. Who’s KSS? No one could blame you for asking. Primarily an anime production company, they also managed to turn out a half-dozen Japan-exclusive games to no great success before their 2005 bankruptcy. Majyūō has acquired a reputation as the standout KSS effort and presumably had a limited print run in its day. Accordingly, you can expect to drop hundreds or thousands of dollars for the privilege of owning a vintage copy. A saner option as of this writing is the authorized 2018 re-release by Columbus Circle at around $60.
The central figure in Majyūō is pistol-packing family man Abel. One Bayer, a former friend of our hero, sold his soul to demons, murdered Abel’s wife, and then kidnapped his daughter to serve as a sacrifice to revive the demon king, Lucifer. What an ass. Now Abel, with a weird assist from the spirit of his dead wife in nude pixie form, is out to storm the very gates of Hell and get his daughter back before it’s too late.
Not a bad setup, honestly. Bonus points for going darker than usual in a Nintendo game with the whole murdered spouse/human sacrifice angle. I would have preferred a little more mid-game development, however. All the plot elements here are concentrated at the beginning and end. Even when Abel comes face-to-face with the traitorous Bayer for the last time, no words are exchanged. I suppose this terseness does keep Majyūō accessable to a non-Japanese audience. I made use of the Aeon Genesis fan translation patch because I could, not because it was necessary.
Abel’s demon slaying odyssey is a compact one, made up of six modestly sized stages. In truth, it’s closer to five capped off by a low effort boss rush. This is undoubted the game’s biggest sticking point for me. Platforming fans in the mid-’90s had already grown accustomed to much longer adventures. Super Castlevania IV, for example, had over three times this amount of content to plow through and didn’t have to skimp on the quality to get there. Poor Majyūō is nearer to the original NES Castlevania in this respect.
Apparently aware that length was going to be an issue, Majyūō’s designers settled on another method of extending play time: Demonic transformations. Taking a page from Go Nagai’s Devilman manga, Abel can merge with the souls of vanquished boss monsters (represented by colored gems) in order to assume three different human-demon hybrid forms. Utilizing all three before reaching the fifth stage of a given playthrough will unlock a superpowered fourth transformation required to see the better of the game’s two endings.
Note that you don’t need to transform if you don’t want to. Beating the whole game as a puny human is definitely possible. Abel’s default health and damage output leave a lot to be desired, as do his stiff, plodding movements. On the plus side, he does have a robust moveset which includes a double jump, evasive roll, charged super attack, and descending jump kick. The various demon forms just happen to do all these same things better, making them a difficulty select of sorts. In light of this, it’s a bit odd that the best ending is reserved for Abel’s most powerful incarnation rather than his least.
Try as they might, I don’t think these alternate forms succeed in making up for the blink-and-you’ll-miss-it run time and often clunky action. That leaves the presentation to hopefully take up the slack and earn Majyūō a mild recommendation. Thankfully, it doesn’t disappoint. The vision of Hell the artists conjured up here is a memorable one, sometimes for unexpectedly silly reasons. Take my favorite level, the speeding demon train. As if the very idea of Hell having its own rail system wasn’t strange enough, this particular train is loaded with explosive crates marked “danger.” Who’s in charge of that? The Abyssal Safety and Health Administration? Oh, and some infernal joker spray-painted “fuck” onto the side of one of the rail cars, so the underworld has its own population of cheeky graffiti taggers, too. I don’t know if the creators intended their implied world building to be this absurd and I don’t care. I’m too busy being delighted. The remainder of the stages skew more normal. Well, normal for Hell, anyway, with plenty of fire, ice, fleshy organic corridors, etc. They’re complimented by some suitably deranged enemy designs and up-tempo action tunes. The weakest links are the sprites for Abel, which are small and lack detail. He looks more like an NES protagonist than a SNES one.
As an action-platformer in the Castlevania mold, Majyūō never rises above average and occasionally struggles to get there. It’s criminally short and the combat isn’t as fluid or fun as it could have been, major flaws that are scarcely mitigated by the cool premise, trippy artwork, and ability to transform Abel himself. If I’d paid full price for this one back in 1995, I’d have regretted it. If I’d paid a king’s ransom in the present day, I’d have really regretted it. Fortunately, getting to play it for free is another story altogether. This is a prime example of a game that had to wait patiently for the age of flash cartridges and emulators to finally come into its own. You may end up damned to Hell for your brazen software piracy, but at least you’ll know what to expect when you get there.