1986 年，Kemco 在任天堂 Famicom 上推出《諜對諜》（Spy Vs. Spy / スパイvsスパイ），這是該系列在家用主機上的首部作品，也被認為是紅白機歷史上最具代表性的「友情破壞遊戲」鼻祖。完美還原《MAD》雜誌中黑白兩名間諜的荒謬爾虞我詐，並開創分割畫面即時對戰的先河，使心理戰成為遊戲的核心樂趣。

畫面採用極簡風格，但每個細節都忠於原作漫畫家 Antonio Prohías 的線條。分割畫面系統（Simulvision）將螢幕水平分為上下兩半，上半部顯示黑間諜視野，下半部顯示白間諜視野，隨時偷看對方的行動。場景設在一棟充滿房間的大樓，兩名間諜細長的尖嘴、誇張的肢體動作，以及滑稽神秘的爵士音效和陷阱觸發音效，共同營造出一種冷戰風格的黑色幽默。

遊戲劇情簡單而有趣：黑間諜與白間諜被派遣潛入同一棟大樓，目標是奪取五件關鍵物品——錢、護照、鑰匙、藍圖以及手提箱。必須將前四件物品收集完成並裝入手提箱，然後搶在對手之前抵達唯一的出口飛機逃離。遊戲不僅考驗反應力，更注重策略與惡意的布局。在畫框、桌子、保險箱等地搜尋物品，同時設置炸彈、彈簧、水桶或電擊陷阱。每種陷阱都有對應的解除工具，必須預判對方的行動以安全取得物品。當兩名間諜在同一房間相遇時，遊戲會切換至白刃戰模式，使用木棒進行短暫格鬥，敗方會損耗大量「生命時間」並在另一房間重生。

評論家高度讚賞《諜對諜》的創新設計和心理博弈，特別是偷看對手螢幕、設計陷阱與時間管理的互動機制。在緊張的倒計時與陷阱對抗中，經常伴隨尖叫與爆笑，遊戲不僅充滿趣味，還提升重玩價值。歷史上，它是早期非對稱對抗遊戲的經典範例，證明不需要華麗特效，只要給予玩家設計陷阱的自由，就能創造出無窮樂趣。

這款遊戲最經典的記憶，莫過於玩家終於收齊四件寶物，正拎著手提箱走向出口，卻被對手在門後設的水桶淋成落湯雞，眼睜睜看著對手趁機搶走手提箱。無數玩家都曾回想，為了氣死朋友，在同一個畫框裡布置陷阱的次數不計其數。

In 1986, Kemco released Spy Vs. Spy (スパイvsスパイ) on the Famicom, marking the series’ first entry on a home console and establishing itself as a pioneer of the “friendship-breaking” genre on the Famicom. The game faithfully recreated the absurd, cunning rivalry of the black and white spies from MAD magazine and introduced split-screen real-time combat, making psychological warfare the core of its gameplay.

Despite its minimalist visual style, the game captured every detail of Antonio Prohías’ original comic art. Its split-screen system, called Simulvision, divided the display horizontally: the top half showed the black spy’s perspective, while the bottom half showed the white spy’s. Players could constantly spy on their opponent, turning misdirection and anticipation into a crucial strategic element. The setting is a multi-roomed building, and the exaggerated movements, thin beaks, and slapstick design of the spies, combined with quirky, mysterious jazz music and sharp trap sound effects, created a unique Cold War–themed black comedy.

The premise is straightforward yet engaging: both spies are sent into the same building to collect five critical items—money, a passport, a key, blueprints, and a briefcase. Players must gather the first four items, place them in the briefcase, and reach the sole exit before their opponent does. The game emphasizes strategy over pure reflexes. Players can search furniture, paintings, safes, and cabinets for items, while also setting traps like bombs, springboards, water buckets, or electric shocks. Each trap has a corresponding counter-tool, requiring foresight to safely retrieve items. If both spies meet in the same room, a short melee combat ensues using sticks; the loser loses a significant portion of “time life” and respawns elsewhere.

Critics praised Spy Vs. Spy for its innovative design and psychological gameplay, particularly the ability to monitor the opponent’s screen, set traps, and manage time strategically. The tension of the countdown timer, the thrill of trap placement, and the chaotic outcomes often led to laughter, screams, and rivalry, making the game highly replayable. Historically, it stands as an early classic of asymmetric competitive gameplay, proving that creative player-driven mechanics could outweigh flashy graphics in generating endless fun.

One of the most iconic memories of the game is when a player finally collects all four key items, carrying the briefcase toward the exit, only to be soaked by a water bucket set by the opponent, who then steals the briefcase. Many players fondly recall the countless times they set traps in the same room, just to frustrate a friend, which became a hallmark of the Spy Vs. Spy experience.