1988 年，Kemco 在任天堂 Famicom 上推出《諜對諜：南國指令》（南国指令!! スパイvsスパイ），這是《諜對諜》系列的第三部作品，也是紅白機上的第二部。改編自美國《MAD》雜誌上的知名諷刺漫畫。與前作以高樓追逐為主不同，將戰場搬到熱帶無人島，使遊戲不僅是動作體驗，更成為一場關於陷阱、心理戰與資源爭奪的黑色幽默對決。

舞台設在熱帶荒島，完美呈現黑白間諜互相拆台、相愛相殺的荒誕節奏。畫面採用分割螢幕，上下分別顯示黑間諜與白間諜的視野，可以隨時偷看對手在做什麼。島上由多個相互連結的場景構成，包括沙灘、叢林和火山口。遊戲的核心不在於直接格鬥，而是在環境中設置各種搞笑又致命的陷阱來擊敗對手。

故事劇情仍圍繞這兩位永遠在競爭的間諜展開。黑白間諜同時降落在神秘的南國群島，島上散落著一份極為重要的導彈設計圖（或機密文件），被拆解成多個零件藏在島上各處。必須先找齊所有零件，然後搶在對方之前抵達停靠在岸邊的潛水艇逃離。如果沒帶齊所有東西就上船，潛水艇會無情地將玩家丟入海中。

操作強調陷阱與環境的策略運用。需調查椰子樹、灌木和石洞等物件尋找零件，並可設置椰子炸彈、陷阱坑、電擊裝置等陷阱。每個陷阱都有對應的解除工具，如鉗子或鏟子。如果看到對手在某處設置陷阱，必須攜帶工具才能安全取回物品。當兩名間諜同時出現在同一區域時，會進入白刃戰模式，但比起陷阱，格鬥效率較低。

評論家高度讚賞《南國指令》的創意與雙人互動性。遊戲精髓在於心理博弈：必須預判對手是否發現自己設下的陷阱，這種資訊不對稱的對抗在當時非常罕見。誇張滑稽的死亡動畫，例如被炸扁、電焦或掉入陷阱，使失敗的挫折感大幅降低。歷史上，它成為紅白機「陷阱動作遊戲」的代表作，其創新的雙人競爭模式至今仍啟發許多獨立遊戲開發者。

這款遊戲最經典的記憶，莫過於看著朋友得意洋洋地跑向你剛離開的樹叢，結果傳來一聲爆炸，對手變成黑炭，而你在螢幕另一端狂笑。玩家也會回想起在火山島上為了搶最後的設計圖，與死對頭繞了多少圈的緊張刺激過程。

In 1988, Kemco released Nangoku Shirei!! Spy vs Spy (南国指令!! スパイvsスパイ) on the Famicom, marking the third installment in the Spy vs Spy series and the second on the Famicom. The game was adapted from the famous satirical comic strip in the American MAD magazine. Unlike its predecessor, which focused on high-rise chases, this entry relocates the battlefield to a tropical, uninhabited island, transforming the game from a straightforward action experience into a darkly humorous contest of traps, strategy, and resource competition.

Set on a lush tropical island, the game captures the absurd rhythm of the iconic black-and-white spies constantly sabotaging each other. The screen is split, showing the perspective of each spy separately, allowing players to “peek” at the opponent’s actions at any time. The island consists of interconnected environments including beaches, jungles, and volcanoes. Rather than relying on direct combat, success depends on setting up elaborate traps in the environment to outwit the rival.

The story revolves around the two rival spies, both dropped onto a mysterious southern archipelago. Hidden across the island are pieces of a critical missile blueprint or secret documents, scattered in various locations. Players must collect all components and reach the submarine anchored onshore before their opponent does. Attempting to board without all the parts results in being ruthlessly tossed into the sea.

Gameplay emphasizes strategic use of traps and environmental manipulation. Players search objects like coconut trees, bushes, and stone caves to find items, then lay traps such as coconuts, pitfall holes, and electrified devices. Each trap has a countermeasure; for instance, a player must carry pliers or a shovel to safely disarm an opponent’s setup. When both spies occupy the same area, a hand-to-hand combat mode activates, though brute force is less effective than clever trap placement.

Critics praised Nangoku Shirei for its originality and highly interactive two-player experience. The game’s core appeal lies in its psychological warfare: players must anticipate what the opponent might have seen or predicted, a rare feature for the era. The exaggerated cartoonish deaths—being blown up, electrocuted, or falling into pits—add humor that offsets the frustration of failure. Historically, it became synonymous with “trap-based action games” on the Famicom and has inspired many modern indie developers seeking innovative competitive mechanics.

One of the most memorable experiences is watching a friend eagerly approach a bush you just left, only to hear an explosion as they fall victim to a trap, while you laugh uncontrollably on the other side of the screen. Fans also recall the tense races around the volcanic island, maneuvering through the map repeatedly to secure the final blueprint before their nemesis.