Yup. Whatever that says, it sure is satisfying.
Getsu Fūma Den (literally “Legend of Getsu Fūma”) is a very interesting 1987 game by Konami for the Nintendo Famicom. As a side-scrolling action-adventure game with some first-person 3D elements, Getsu Fūma Den shares a lot of the same very ambitious design goals as two other Konami releases for the console that same year: Castlevania II: Simon’s Quest and The Goonies II. Each of these three games are flawed, but still quite enjoyable attempts to take the action-platforming gameplay common in Famicom titles up to that time as a basis and then work in elements from the RPG and adventure game genres in the form of permanent character progression and large open worlds filled with mazes, puzzles, and inventory items to gather. Unlike Castlevania II and Goonies II, however, Getsu Fūma Den never saw release outside of Japan, probably due to its heavy use of imagery and cultural references that would have been lost on a Western audience.
As its title states, Getsu Fūma Den is the story of Getsu Fūma, a determined young samurai who must recover his clan’s three lost magical wave swords (hadouken), which were captured when his older brothers fell in battle against the forces of the demon lord Ryūkotsuki (“dragon bone demon”), and use them to vanquish the villain once and for all and avenge his fallen kin. Interestingly, Fūma is based (extremely loosely) on Fūma Kotarō, a famous historical ninja clan leader who rose to prominence in 16th century Japan. This makes him a sort of counterpart to another historically inspired Konami hero: Goemon from the Gonbare Goemon series.
I played Getsu Fūma Den using the original Famicom cartridge and a pin adaptor that I ripped out of a copy of Gyromite, so there was a bit of a language barrier to deal with. There is a fan translated version of the game ROM available online if you prefer to play that way, but thankfully there’s no need. All you really need to complete the game is an understanding of your overall goal and a good breakdown of what the various items in the game do. Thorough exploration will take care of the rest.
The game starts you out on an overhead view world map very reminiscent of Zelda II: The Adventure of Link’s, although it doesn’t feature the constant random monster encounters that Zelda II does during map exploration. Various icons on the map represent action stages, shops, dungeons, and houses where NPCs will dispense healing and advice. The goal of the game is to locate the three dungeons that house the missing hadouken and pass through them to defeat the bosses therein. Once you have all three swords, a bridge will appear on the main island that you can cross to reach Ryūkotsuki’s castle and finish him off. To enter each dungeon, though, you’ll need to acquire passes in the form of demon masks. These are dispensed by specific skeleton NPCs that you’ll find inside houses. You’ll need to fight the first two in order to get their passes, but you can rather amusingly acquire the third one just by repeatedly visiting the skeleton and pestering him for it until he finally relents and hands it over so you’ll leave him be. Also, keep in mind that a few of the items sold in the shops (like the rock sword and candle) are actually required to complete the game, so make sure to check out all the ones you find.
Though world map is merely functional, the side-view action stages are where Getsu Fūma Den really shines. These look fantastic and feature a large selection of enemies and background tiles for a 1987 title. Fūma has a very floaty jump and an interesting way of attacking with his sword. He swings it in a sort of wide forward arc that can also hit enemies immediately above and below him. It took me a little while to realize why Fūma’s controls felt so familiar, but then it hit me: He handles a lot like Leonardo from Konami’s very first Teenage Mutant Ninja Turtles game for the NES, just with a faster running speed. It wouldn’t surprise me at all if some of Getsu Fūma Den’s staff later worked on TMNT.
You have a health meter at the top of the screen and right above it is an experience meter that will slowly fill as you kill enemies. The more experience you accumulate, the more damage you’ll deal with your sword and the less you’ll take from enemies. I was able to max out the experience meter fairly quickly during my playthrough, between the first and second dungeons, and it definitely made the journey much easier. The most fun part of these stages is probably using the various extra weapons that you can pick up and use in place of your sword for a little variety. You can find a magic war drum that shoots the Japanese work for “power” at foes to damage them, shuriken throwing blades, a devil top that gives you an invincible jumping spin attack similar to Metroid’s Samus Aran, and more. The top spin attack in particular is super strong against bosses.
Once you finally reach one of the three dungeons, you’ll enter the final gameplay mode: 3D maze exploration. Unfortunately, this is where Getsu Fūma Den flounders somewhat. Like almost all 3D maze sections in 8-bit console games, these sections are slow, unengaging, and confusing to boot due to every part of the maze looking exactly the same. Prepare to either draw yourself some maps Dungeons & Dragons style or wing it and just accept that you’ll be getting turned around and unintentionally backtracking at some points. At least these mazes are better than the positively torturous ones in Vic Tokai’s Golgo 13 games. No multiple floors and trap doors to send you back here. There are non-essential bonus items and money stashes to find as well as enemies to fight, but the combat here is pretty lacking. While enemy sprites will bob up and down to simulate being closer or further from Fūma, there’s no sprite scaling like there is in games like Sega’s Space Harrier, so judging depth can be difficult. In general, just try to avoid enemies when they’re at the bottom of the screen and jump up to slash them in the head as many times as possible when they’re at the top. Thankfully, you’ll switch back to the side-view perspective when you reach the end of the maze and it’s finally time to fight the boss. These guys are another highlight. They’re big, freaky looking, and fun to combat. I especially loved the giant cyclops demon head in a samurai helmet that flies around spitting flames at you.
Getsu Fūma Den isn’t a particularly difficult game. The trickiest elements are by far are learning your way around the overhead map and navigating the dungeon mazes. Fūma can take a lot of hits before dying and continues are unlimited. Losing all your lives and continuing will cost you half of your accumulated money, but this is no real hardship. You’re practically drowning in cash in this game and most items for sale aren’t even that expensive. A couple of the later bosses can put up a decent struggle, but once you find the devil top, you can spin them into oblivion easily enough. My first playthrough last night took me about 5-6 hours in total, none of which was spent stuck on difficult action bits. There are passwords available to resume your game if you want to take a break. Just select the second option on the continue screen to receive one. These aren’t too long, but they are in Japanese, so I would recommend taking a photo rather than trying to transcribe them by hand unless you’re familiar with the language.
Getsu Fūma Den is yet another awesome 8-bit title from Konami. It has some great side scrolling action coupled with a very surreal and striking ancient Japanese fantasy-horror aesthetic. There are games for the system that look better, but none that could be mistaken for this one. The music is also a treat, particularly the epic overworld theme. It’s a pity that Fūma himself never found the same success that many of their other characters did. This game never received a sequel, even in its native land. Fūma would be playable in both the Konami Wai Wai World games for Famicom (along with numerous other Konami heroes) and he was also a downloadable bonus character in 2010’s Castlevania: Harmony of Despair, but he would never again be a headliner.
At least he went out with honor.