由 Pony Canyon 在 Famicom（紅白機）上推出的《小松君：回到我這大板牙之卷》（おそ松くん バック・トゥ・ザ・ミーの出っ歯の巻），是改編自 赤塚不二夫 經典漫畫《小松君》的橫向捲軸動作遊戲。作品延續原作荒誕無厘頭的風格，將漫畫中誇張又充滿惡搞意味的世界觀轉化為高難度的動作挑戰，讓許多玩家在歡笑與挫折之間留下深刻印象。

故事圍繞著自戀又愛惹事的反派 嫌味 展開，他發明一台時間機器，將六胞胎中的其他兄弟與女主角 多多子 分散到不同時空之中。主角長男 小松，必須穿越各種風格迥異的關卡與歷史場景，逐步擊敗敵人並找回失散的夥伴，同時阻止嫌味的惡作劇計畫。整體劇情雖然看似簡單，卻充滿原作特有的荒謬感與幽默節奏

在操作體驗上，呈現出當時 8-bit 動作遊戲常見的紮實手感，但同時也帶有一定程度的沉重感。角色的跳躍與移動需要精確掌握時機，稍有失誤便可能落入陷阱或被敵人包圍。初期攻擊手段相當有限，多半需要依賴關卡中取得的道具來應對各種挑戰。

道具與變身系統是本作最具代表性的特色之一。在探索過程中可以收集各式圖示與物品，除了補充體力之外，還能觸發不同型態的能力變化，例如改變攻擊方式或短時間進入無敵狀態。這種設計不僅增加了戰鬥的變化性，也讓玩家在資源運用上需要更謹慎思考。

雖然表面上是橫向捲軸動作遊戲，但關卡設計其實帶有一定程度的非線性。隱藏了不少分支路徑與秘密入口，有時必須找到特定門或傳送點，才能順利前進到正確的區域。這樣的設計在當時相當少見，也提升探索的深度與重玩價值。

在玩家評價方面，向來以「難度極高」聞名。敵人配置刁鑽，加上大量陷阱與精準判定的跳躍需求，使得遊戲容錯率極低，對新手而言往往在初期就會遭遇挫敗。然而，也正因如此，成功突破關卡時所帶來的成就感格外強烈。

視覺與表現方面則忠實再現赤塚不二夫作品特有的誇張風格。角色表情生動滑稽，無論是被擊中還是擊敗敵人，都帶有濃厚的漫畫戲劇感。此外，還在部分場景中加入語音合成效果，例如嫌味標誌性的「Sheee！」，在 1980 年代的家用主機遊戲中可說相當前衛，展現出製作上的用心。

整體而言，《小松君：回到我這大板牙之卷》是一款極具個性且帶有強烈「惡趣味」的動作作品。它不像 Super Mario Bros. 那樣親切易上手，而更像是一場對玩家耐心與操作精度的嚴苛試煉。對於喜愛原作漫畫或熱衷挑戰高難度紅白機遊戲的玩家來說，這是風格鮮明且難以忘懷的經典之作。

Released on the Famicom (NES) by Pony Canyon, Osomatsu-kun: Back to the Me no Deba no Maki (おそ松くん バック・トゥ・ザ・ミーの出っ歯の巻) is a side-scrolling action game based on the classic manga Osomatsu-kun by Fujio Akatsuka. The game captures the series’ absurd humor and exaggerated comedic tone, transforming it into a challenging and often unforgiving gameplay experience that left a strong impression on many players.

The story centers on the narcissistic troublemaker Iyami, who invents a time machine and uses it to scatter the Matsuno brothers—along with the heroine Totoko—across different points in time. Players take on the role of Osomatsu Matsuno, the eldest brother who must travel through various historical and bizarre worlds, defeat enemies, and rescue his siblings and loved one while putting an end to Iyami’s chaotic scheme. While simple in structure, the narrative retains the original manga’s quirky and nonsensical charm.

In terms of gameplay, the controls feel solid for an 8-bit action title, though somewhat heavy and demanding. Movement and jumping require precise timing, and mistakes are often punished harshly. Early in the game, the player has very limited offensive capabilities, relying heavily on items found throughout each stage.

The item and transformation system stands out as one of the game’s defining features. Players can collect various icons and items that not only restore health but also grant temporary abilities, such as altered attack styles or brief invincibility. This system adds strategic depth and encourages careful resource management during progression.

Despite being a side-scrolling game, it incorporates a semi-nonlinear level design. Hidden paths, secret doors, and warp points are scattered throughout the stages, requiring players to explore carefully in order to find the correct routes. This design was relatively uncommon at the time and adds replay value.

Reception among players has long been divided, largely due to its high difficulty. Enemy placement is often tricky, and the abundance of traps—combined with strict jumping precision—results in a very low margin for error. For many newcomers, even the early stages can feel overwhelming. However, this same difficulty also provides a strong sense of accomplishment for those who persevere.

Visually, the game faithfully recreates Akatsuka’s distinctive comedic style, with expressive character animations and exaggerated reactions. Notably, it also features synthesized voice samples in certain scenes—such as Iyami’s iconic “Sheee!”—which was quite advanced for a late-1980s Famicom title and demonstrated a surprising level of production effort.

Overall, Osomatsu-kun: Back to the Me no Deba no Maki is a uniquely styled and deliberately punishing action game. Unlike more accessible titles such as Super Mario Bros., it leans heavily into difficulty and eccentric design. For fans of the original manga or players who enjoy challenging retro games, it remains a memorable and distinctive entry in the Famicom library.