Hello, I'm Mob from the Negolove team at SKOOTAGAMES.
This is my third time participating in the Tokyo Game Show (TGS), and I might say that I've reached a point where I can somewhat speak about "getting used to it." This year's TGS, especially with the news of being the first-ever 5-day event (though there were some changes along the way), undoubtedly drew significant attention even before it started.
Having experienced the same indie game booths and corners each time, I feel that every TGS creates a unique festival atmosphere, and I can't help but be genuinely impressed. On the other hand, the titles I saw in this year's indie game corner had many "new faces" compared to the last couple of years, making it an exciting and enjoyable year to witness.
Though this report comes a bit late, I hope to deliver this article as a piece introducing new indie games that have become a significant pillar in this year's theme of "the longest, play-filled 5 days (4 days)."
'SELLCT': The Sin of 'Peeping' and Dialogue with the Invisible
'SELLCT', which won both the Grand Prize and the Jury Prize (Takashi Tokita Award) at "God Game Creator Evolution 2025." I had heard its name and reputation for some time, but I finally had the opportunity to play it directly at this TGS.
I find it very difficult to define this work within a single genre because the experience it offers is so unique. If I had to put it into words, I would say it is a "puzzle and adventure game with strong meta elements."
When I sat down in front of the PC at the booth, the screen displayed an unidentified ".exe" file, with a single door placed against a stark white wall. The player engages in limited dialogue with "someone (or something)" behind that door through a message box. That presence asks for help, saying, "Please get me out of here."
What’s intriguing is the method of rescue. The player essentially progresses through the game by opening local files (like text and folders) on the PC, reading the data inside, and moving or deleting the files themselves.
To be honest, I began to feel a certain kind of "discomfort" as I progressed through the game. However, it wasn't a systemic discomfort that hindered immersion, such as poor controls or visibility. It was the sharp tension and sense of guilt that arose from the act of "snooping through someone else's PC folders and peeking at their contents."
This discomfort gradually intensified as I approached the conclusion, eventually taking on a clear form. As a result, the entity behind the door successfully escapes and expresses gratitude towards me. However, at the same time, it confronts me with the fact that I had manipulated someone else's files without even knowing what I was trying to help. It sharply questioned whether my actions were merely "hypocrisy" or if I had acted irresponsibly under the excuse of "it's just a game."
Ultimately, the keyboard and mouse became completely unresponsive, leading to a conclusion where my PC was taken over by this unknown entity. (As a side note, when I lost control of the keyboard midway, I panicked and pressed Ctrl+Alt+Delete, inadvertently resetting the game—this is a secret between us.)
The meta-structure itself was very impressive, but what stuck with me the most was that this went beyond being just a "game" and established itself as a perfect "experience."
it takes away the control of the keyboard and mouse...
In fact, I passed by this booth several times during the exhibition, but I never saw anyone (the developers) there. At first, I found it strange, but after finishing the game, I deeply understood. "This experience is only complete when played in an empty booth."
Snooping through someone else's belongings (data) for an unknown, fictional entity, deleting or editing without permission. Continuing this act while feeling guilty can be seen as a terrible form of hypocrisy. If the developer had been sitting right in front of me at that moment, I would have unconsciously found an excuse (a way out) in the thought that "this act is acceptable because the developer is watching," and I wouldn't have fully experienced the inherent discomfort of the game.
However, in a completely empty booth, sitting down of my own volition to help an entity on the monitor creates a strong illusion of engaging in a "secret act that should not be seen by anyone." If a developer had appeared during my playthrough or someone had called out to me, it’s not an exaggeration to say I might have run away from that spot.
In this way, 'SELLCT' brilliantly incorporated not only the systems within the game but also the external environment—the spatial design of "no one being in the booth"—to provide players with a sharp sense of tension. Among the many indie games at TGS, it stood out as a work that shone brightly in terms of the surprise and density of its experience.
'Dr. Oops!': Madness "Decoration" That Covers a Simple Framework
Next up is 'Dr. Oops!', a simulation and adventure game where you play as an unlicensed doctor who routinely performs illegal treatments to pay off debts. I had been curious about its unique art style and setting from social media, and finally got the chance to play it at this year's TGS.
The biggest shock I received from this game was not only its pure completion as a game but also the realization that "can a game be made this interesting solely through direction and expressiveness?"
This is because the basic structure of the game is extremely simple. Aside from the initial information presented at the start of the game, what the player essentially needs to do boils down to a cycle of "asking the patient about their symptoms," "checking off diseases that match those symptoms to narrow down the options," and "prescribing the appropriate treatment." With the goal of paying off debts, the simulation aspect naturally incentivizes "how to handle as many patients as possible in a short amount of time" for financial gain.
However, the amount of information needed to understand this single cycle is not that much, and it is designed so that anyone can quickly grasp the game's mechanics. I felt that this "broad entry point" serves as a powerful advantage that undoubtedly attracts many users.
On the other hand, what is astonishing is the overwhelming luxury and intricacy of the "additional information" that envelops this simple core cycle.
With a pop style reminiscent of American comics, uniquely designed (and sometimes overly so) patients, and above all, an unusually rich character voice cast for an indie game. Each of these elements radiates a strong personality that could easily stand out negatively if the balance were disrupted, yet they are miraculously harmonized within the game. During gameplay, I was repeatedly amazed by this perfect sense of balance.
Among indie games that are introduced on social media with one-liners like "It's a game where you become XX," there are often cases where only the hook of the setting stands out, leaving players feeling unsatisfied with other elements once they actually play. However, 'Dr. Oops!' was the complete opposite. The intense initial impact of "becoming an unlicensed doctor to pay off debts" is overshadowed by the overall quality and the energy of the presentation that imprints itself in the player's mind as they progress through the game.
What I particularly want to mention is the character voices I touched on earlier. It's astonishing how much voice work has been included in this indie game developed by an individual. Remarkably, all of these voices were recorded by just one director. (Of course, they have been edited and adjusted.)
If you take a look at the PV on the Steam store page, you'll see that a truly wide variety of voices have been recorded, ranging from the main characters to a diverse array of patients. While there are commonalities in the voice quality, the intonations and characterizations of each character are so brilliantly executed that I never once felt during gameplay, "Wait, all of these are voiced by the same person..."
The volume, direction, and lavishness of this game are beyond what you would expect from an indie game, yet its production background is filled with the gritty passion typical of indie projects. This gap is surprising in two ways, making it a highly captivating title. A demo version is currently available on Steam, so be sure to check it out!
'Teaching My Sister to Drive': A Genius Design that Turns Stress into Play and Unintentional 'Hacking'
Finally, let me introduce 'Teaching My Sister to Drive' as something of a "supplement" in this context. This game has already gained significant recognition, being streamed by numerous content creators in both Japan and South Korea, so it hardly needs further introduction in this report.
In short, it can be described as "a simulation game where you teach a sister who refuses to listen to you how to drive using only words, which is a high-difficulty task."
What I found "genius" about the design of this game is how it brilliantly links the everyday theme of "driving practice that doesn't go as planned among family" with the "frustration of programming (AI) that doesn't respond at all to human input."
For those who don't usually play games, the former explanation allows them to easily grasp the situation, while for seasoned gamers, the latter explanation sets up expectations for the "absurdities they are likely to face." Even minor bugs or unreasonable behaviors that occur in the game can be unconsciously accepted due to the premise of "it's AI" or "it's my sister." Whether this is a result of meticulous planning or a happy accident is unclear, but it ultimately creates a remarkable structure that elevates the player's "stress" into gameplay itself.
many users were left frustrated here.
However, now that some time has passed since the excitement of TGS, the reason I want to revisit this game is due to the "strange ways users are playing it" that have emerged.
The outrageous news that they are spending $1,000 a day to maintain the demo on Steam has certainly garnered attention, but what intrigued me even more is the phenomenon where some users and streamers have started playing this game as "a game to elicit the desired responses from the sister."
For example, challenges like "What words can I throw at the AI sister, who always has a prickly and cold attitude, to elicit the word 'like'?"
The "inflexible AI" that was supposed to be adjusted to create stress for the player. Deviating from the original gameplay of trying to tame it, players are attempting to exploit the systematic flaws of the AI to alter the settings. This can be seen as finding pleasure in "hacking" the game system itself, playing it as a completely different dimension of simulation game.
Recently, the act of unlocking the limitations of conversational AI like ChatGPT (the so-called "jailbreak") has become a trend in some circles, and it feels like a very similar phenomenon is occurring. In this way, users are discovering ways to play that even developers (probably) did not intend, and these cases are being shared and rediscovered throughout the community, which is quite rare even in indie games.
Breaking through the structural framework that games inherently possess, 'Teaching My Little Sister to Drive' continues to show new faces every day thanks to the players' enthusiastic "mischief (or curiosity)." Its unpredictable developments and vitality make it a title to keep an eye on in the future.
Conclusion: Indie Games as Pillars Supporting the Festival
Now, although this is a bit of a late reflection, I have introduced three unique indie games that I encountered at Tokyo Game Show 2026.
The game 'SELLCT', which even incorporated the environment of an "empty booth" into a meta experience.
'Dr. Oops!', which covers a simple framework with a passion that can be described as obsession and luxurious decorations.
And 'Teaching My Little Sister to Drive', where new ways to play continue to emerge through the hands of users, surpassing the developers' intentions.
While the approaches are completely different, each title shares a strong "commitment" and "enthusiasm" that cannot be confined to simply wanting to convey "fun games (experiences)."
Once a "hidden area known only to those in the know" in a vast venue, the indie game corner has now grown to become one of the strong and sturdy "pillars" that supports this massive festival, as I walked around the venue of this historically long Tokyo Game Show and witnessed the many vibrant booths.
I remember that SKOOTA GAMES' representative work 'Momotto Crash' was unveiled last September at Tokyo Game Show 2025. I am delighted that we could exhibit again this year and tell the visitors at our booth, "Today marks our first anniversary." I will continue to strive to deliver this wonderful "thigh" beyond Japan to the world.
Well then, see you in the next report. Thank you for reading until the end.