Now, with the heat of the 【first part】 still lingering, the report continues into the 【second part】. Continuing on, I will talk about the three shining gems that that mob discovered amidst the chaos of Makuhari Messe.
In the 【first part】, we introduced works that reveal the absurdities of modern society through a Chinese game, a Russian game that emits an intense atmosphere transcending language barriers, and a German game that delivered an overwhelming "experience" that transcends theory. Since it is a massive festival, the individuality encountered in one corner tends to stand out even more.
And what will be introduced in the 【second part】 are games from other countries, equally filled with intense energy. What was present there was a pure "caloric" essence, akin to the initial impulses of the creators that cannot be explained by theory or sophistication. Or perhaps, a pleasant "nostalgia" that evokes memories of past passions. And the timeless "joy of reunion" that can only be tasted while chasing indie games.
So, let's take a look at a game that allows us to feel the passionate winds of South America.
Lucha Masters: Mighty Lucha: An "Energy" That Is Unexplainable But Can Be Felt
Now, the first game introduced in the 【second part】 is 『Lucha Masters: Mighty Lucha』 from Mexico. My encounter with this game began with a bizarre introduction video. It featured a man enjoying tacos, while an axolotl (Uparupa) sneaks up from behind and steals the tacos… Honestly, I couldn't glean any information about the game from that video, but it had enough impact to spark a strong curiosity of "What on earth is this?"
When I actually played it at the booth, that sense of "What on earth is this?" deepened even further. This work is an action-adventure game drawn in a nostalgic 8-bit style, allowing up to 4 players. While many recent indie games showcase unique ideas or fresh systems, this game, with the spirit of old arcade games and a certain "simplicity," stood out as fresh and strongly caught my attention.
However, despite its nostalgic appearance, the difficulty was quite high. Enemies appeared in succession, and the gimmicks were not easily resolved… I found myself exhausted in the same spot multiple times, and ultimately, my third attempt became my last, forcing me to reluctantly put down the controller.
Normally, I might have concluded that "this game just wasn't for me." However, this game possessed a mysterious "heat" that transcended such theories, drawing players in and making them want to know its true identity. Later, I found that I could somewhat understand the source of that heat. This work tells the story of the axolotl "Lucho" fighting to defeat the Aztec god of death "Mictlantecuhtli," rooted in traditional Mexican legends and myths.
Aha, I hit my knee. The energy I felt in this game, which was almost incomprehensible, might have been a pure crystallization of the developers' deep affection and respect for their own culture (lucha libre, Aztec mythology), mixed with a strong ego akin to the initial impulse of "Let's capture everything we think is fun." It is a shine that can never be created solely through sophistication or calculation, a unique brilliance of indie games.
However, despite repeatedly facing game overs, I was able to receive a small character figure from the gacha box set up at the booth. The fact that I felt somewhat redeemed by this small kindness is a story unique to this moment.
The Eye of the Heart - The Shaman of Yin and Yang: A Mysterious Dungeon Where Nostalgia and the Fear of "Wa" Are Intertwined
Next up is the only Japanese title featured in this report, “The Eye of the Mind - The Shrine Maiden of Yin and Yang”. This Japanese-style roguelike dungeon exploration game, showcased at the KADOKAWA Game Linkage booth, may remind those in their 20s of the “Mystical Dungeon” series created by Chunsoft. Personally, I belong to the generation that encountered this genre through the Pokémon series, so I was able to play it with a sense of nostalgia.
The story begins with the protagonist, a shrine maiden named “Yono,” stepping into a mansion inhabited by monsters in search of her missing brother. Inside the eerie mansion, where the structure changes every time you enter, players control Yono to either escape from or confront the approaching yokai, aiming to delve deeper into the mansion.
What’s intriguing about this game is that the protagonist Yono is fundamentally a powerless being without any means of attack. Therefore, rather than simply defeating enemies to progress, players must constantly think on their feet, using items to set traps or identify enemy locations to sneak past. This “fragile” aspect creates a unique tension that blends seamlessly with the Japanese horror atmosphere.
What surprised me the most was the quality of the sound. Even though it was a demo version, I was amazed that the character dialogues were fully voiced. More than that, the balance between environmental sounds and voices was very well adjusted, skillfully creating a sense of quiet horror. By the way, Yono's voice saying “Moshi Moshi” when checking if there’s a yokai beyond the door was particularly cute and left a lasting impression on me.
Of course, the system of setting traps or attacking specific areas is not uncommon in games of this genre. However, seeing it reinterpreted within the world of “Wa” with objects and settings not typically encountered in regular games was a small but enjoyable experience.
One downside was that in this demo version, I couldn’t encounter the various enemies and gimmicks seen in the trailer, nor Yono’s alternate personality that appears in times of crisis, which are central to the story. However, this also means that my expectations for the final product have risen significantly. I look forward to the day when the full picture of this nostalgic new “Mystical Dungeon” is revealed.
Reverie: A Reunion Puzzle that Reverses Space and Memory
To wrap up this Tokyo Game Show exploration, we have the puzzle adventure game “Reverie” from Korea. This title, located in the Selected Indie section, caught my attention with its unique system.
The core of this work lies in its very unique rule of reversing “buried spaces” and “open spaces.” The player can change the properties of black block spaces where they can stand and empty spaces where they can move freely through specific actions. Places that were walls become paths, and paths that were walls become walls. This simple rule transition creates surprisingly deep puzzles.
Every time I encounter many puzzle games, I feel a pure sense of wonder and respect, thinking, "How on earth did they come up with such an idea?" This is also the first step for someone like me, who is not very skilled at puzzle games, to understand and enjoy them. 'Reverie' has also posed that question to me.
However, what makes this encounter with the game even more special is that it wasn't our first meeting. In fact, I had previously come across what seemed to be an early version of 'Reverie' at another event. It was definitely at last year's "Burning Beaver" with Hana-senpai. From what I remember, this work was a more strict and pure puzzle game. While I was drawn to its original art and world, I also have a slightly frustrating memory of its difficulty.
About 10 months later, 'Reverie', which I coincidentally reunited with at the world's largest game festival, had certainly evolved from the image in my memory. This demo version had a shorter playtime than before, but it included more detailed explanations of the story's introduction, characters, and world.
When following indie games, you can sometimes experience such joyful reunions. Aspects that were previously a bit disappointing or things I secretly wished "would have been better" appear before me in a beautifully enhanced form, reaching more people. This is one of the joys that cannot be exchanged for anything else for indie game fans.
'Reverie', which once resonated only with pure puzzle lovers, has grown into a work that warmly welcomes players captivated by its unique atmosphere, showcasing deep inclusivity. Because I was able to witness this joyful transformation, I wanted to choose this game to conclude this lengthy report.
At the End of the Report
So, how did you find the introduction of six unique indie games from different countries in the 【first part】 and 【second part】?
China's 'Thank you for participating' revealed the absurdities of modern society. Russia's 'SOBAKISTAN' painted an atmosphere that transcends language barriers. Germany's 'PVKK' showcased the power of experiences that transcend reason. Mexico's 'Lucha Masters' exuded an incomprehensible passion. Japan's 'Shinshasa - The Priestess of Yin and Yang' evoked nostalgia and new fears. And Korea's 'Reverie' presented a story of joyful reunion and clear growth.
What these six works had in common was the unwavering "soul" of the creators that resided at the center, never getting lost amidst the chaos of the massive TGS festival.
The brilliance of large titles is also wonderful. However, being able to encounter the diverse, sometimes distorted, yet lovable light born from creators in different countries and cultures stubbornly pursuing their own belief of "fun" is perhaps the greatest charm of walking through the indie game section of the Tokyo Game Show, and I feel that once again.
The six different "questions" they posed have once again given me much stimulation and a few assignments. So, what form will my "answer" take? That is another story.
Well then, see you in the next report.