Fortune and glory, kid. Fortune and glory.
Back in 1983, Konami published a little arcade game called Roc’n Rope. Directed by a promising rookie designer named Tokuro Fujiwara, Roc’n Rope is a single screen “climb to the top” platformer in the Donkey Kong mold with a twist: The player’s avatar, a tiny explorer in a pith helmet, is unable to jump and instead has to ascend the playfield by using a grappling gun which fires a rope that can latch onto the undersides of platforms. I’ve been a fan of this one ever since it debuted. It’s clever, cute, and a lot of fun. It’s not at all a common cabinet, but I’ll always drop a few quarters in given the opportunity.
As for Fujiwara, he left Konami for Capcom later that same year, going on to become one of the industry’s most most influential designer/producers. His Ghosts ‘n Goblins series needs no introduction and he’s also been closely involved with almost every other major Capcom property. I’m talking Mega Man, Street Fighter, Resident Evil, the works. In 1987, he revisted the “wire action” concept introduced in Roc’n Rope with the arcade Bionic Commando, better-known by most for its brilliant 1988 NES adaptation.
What many don’t know is that Konami took their own stab at a Roc’n Rope successor in 1987 with no input from Fujiwara. The result was Arumana no Kiseki (“Miracle of Arumana”) for the Famicom Disk System. While it’s not quite the must-play masterpiece NES Bionic Commando is, Arumana is a one-of-a-kind thrill ride that will appeal to fans of other Konami side-scrollers.
A single glance at Arumana’s cover art tells you everything you need to know about its story. This is Indiana Jones and the Temple of Doom. It’s not even remotely subtle about it, either. The game’s hero, one Kaito, is straight-up cosplaying in his khaki safari shirt and brown fedora. The plot sees him out to restore life to a vaguely Indian village by retrieving a stolen magical gem called the Sanka…er, the Arumana. Baddies included turbaned Thuggee lookalikes and snakes. There are booby-trapped ruins aplenty and even a minecart segment. It’s enough to make me wonder if all this “homaging” is the reason we never saw an NES conversion of Arumana. LucasArts’ lawyers would have had a field day.
Kaito’s quest for the Arumana unfolds over the course of six stages, which seems to have been the magic number for Konami around this time, going by Contra, Castlevania, Jackal, and others. Stages are moderately large and scroll in all directions, though they’re laid out in such a fashion that the way forward is generally pretty obvious. That said, be on the lookout for the occasional false wall or floor that can be broken with the spiked ball weapon to reveal power-ups and shortcuts. Breaking walls in this manner actually becomes necessary to progress in some of the later areas.
On the subject of weapons, Kaito has a generous six at his disposal. There are no hard choices to be made here, either, as he can potentially carry all six at once, cycling between them as needed with the Select button. Throwing knives and a pistol provide basic forward firepower, bombs and spiked balls arc downward, the bola travels diagonally upward, and the rare and precious red orb instantly damages every enemy on the screen. The most interesting thing to me about this system is that all these weapons have limited shots. This means that Kaito has no innate free attack option and a careless player could theoretically fire off everything and find themself completely defenseless. Though it’s unlikely to ever happen due to the frequency with which the game throws ammo of various types the player’s way, Arumana is one of the few action-platformers where such a thing is even possible.
Of course, as alluded to above, the real defining feature of Arumana no Kiseki is not a weapon at all, but Kaito’s grappling line. Pressing up and the B button simultaneously causes it to shoot out at a fixed upward angle and anchor itself to any solid surface. Kaito can then shimmy his way up or down the line as needed. You can only have one line in place at a given time, however. The previous one will disappear the instant you press up and B again. Although Kaito can jump, his puny Simon Belmont-esque hops are woefully inadequate for the great heights he’s expected to negotiate almost constantly. Simply put, the game is designed in such a way that the grappling line must be mastered completely in order to see Kaito through to the end.
There’s a lot to love about Arumana no Kiseki. Its swashbuckling Indiana Jones trappings, brazen and shameless as they are, work to set just the right adventuresome tone. The in-game artwork is great by 1987 standards, keeping with Konami’s early Famicom house style of realistically-proportioned faceless human characters. The level design is excellent throughout and each stage’s end boss presents a unique challenge that’s suitably intimidating and satisfying to conquer with the correct weapons and tactics. The difficulty also feels about right to me, similar to other tough-but-fair Konami hits like Contra. Kaito’s default five-hit life meter is neither too generous nor too stingy and he’s given three lives and three continues with which to tackle all six stages, with the possibility of earning extra lives through score and 1-Up pickups.
I’d be remiss I didn’t single out Kinuyo Yamashita’s music for special recognition. The Famicom Disk System add-on included an extra sound channel for wavetable synthesis. Support for this feature varied greatly from game to game, but few would ever use it as extensively and artfully as Yamashita did here. She programmed a total of ten distinct wavetable instruments for use in Arumana no Kiseki and the results speak for themselves. Heck, even before you take the expansion audio into consideration, the melodies here are every bit as good as the ones she created for Castlevania or Power Blade. My only regret is that there apparently wasn’t room on the disk for more of them, as the six stages share three background tracks between them.
Sadly, few things in life are truly perfect. Even Indy had his obnoxious sidekick cross to bear on occasion. Arumana’s metaphoric Short Round is the awkward and occasionally glitchy implementation of its central platforming mechanic. Kaito’s grappling line deploys slowly in contrast to the zippy bionic arm of Rad Spencer, making it difficult to escape some of the faster enemies. What’s more, the physics of it are just plain strange. Here’s an example: If you wanted to anchor your line as high up on the screen as possible, you’d obviously want to fire it off at the apex of a jump, right? Wrong. The line will somehow move up and down the screen along with Kaito as it extends, so you instead want to fire it off a split second before you jump. That way, you can try to match up the instant the line actually attaches to the wall with the high point of the jump. That’s just bonkers. You can definitely get used to it, but the learning curve is steep and it never really feels right. It’s also possible to deploy your line in such a way that Kaito clips through the wall and dies instantly when he climbs up it. This doesn’t happen all the time, just often enough to be frustrating and make you wish that Konami had done a little more fine tuning before they shipped this one.
Play control angst aside, I’ll still recommend Arumana no Kiseki to any 8-bit action lover with the patience to adapt to its quirks. It’s a mostly successful attempt to infuse Rock’n Rope with elements of Castlevania and it makes excellent use of the FDS hardware. It deserves to be remembered as more than just Bionic Commando’s weird distant cousin. Ironically, it’s also miles above the godawful offical NES Temple of Doom adaptation put out by Tengen and Mindscape. That game should prepare to meet Kali…in hell!