CRITICAL REFLEX CEO on Bringing New “Umami” to Players Worldwide, Creator of “Mouthwashing” and “No, I'm not a Human” [TGS2026]

The “Tokyo Game Show 2026” is being held at Makuhari Messe from September 17 to 20, 2026 (the event on the 21st has been canceled).“CRITICAL REFLEX,” which has brought many hit titles to the market in recent years—including *No, I’m not a Human*, *Mouthwashing*, and *Buckshot Roulette*—is also exhibiting at the event.

We interviewed Rita Lebedeva, founder and CEO of “CRITICAL REFLEX,” to learn about their upcoming games and the philosophy behind their unique selection of titles.

――Thank you for joining us today. This year, you released the visual novel *Burden Street Station*. Its fantastical world, art style, and dark yet heartwarming story really feel like a quintessential “CRITICAL REFLEX” title.

Rita Lebedeva (hereinafter Rita): Thank you very much.

――Last year, *No, I’m not a Human* generated a particularly strong response, didn’t it? It became quite popular in Japan as well—how was that reception viewed within CRITICAL REFLEX?

Rita: Of course, the financial success—with sales exceeding 1 million copies—goes without saying, but more than that, this title was incredibly meaningful in helping us expand the scope of the games we create.

By exploring personal stories and contemporary themes—and prompting players to reflect on themselves as they play—it has also sparked discussions within the community. We’ve really enjoyed that, too.

――The characters have become quite popular, and a lot of fan art has been created, hasn’t it?

Rita: We are truly grateful for the fan art and fan creations from our fans, as well as the warm sentiments they’ve shared with us.

Since September 15 marked our first anniversary, we announced that we’re currently working on a new update for the game. In this update, we’ll delve deeper into the story, add new endings, and include a few surprises—such as a focus on characters beloved by our fans. Even if you haven’t played in a while, we think you’ll discover something new if you give it another try.

――You’re known for many eerie and bizarre games, such as the earwax-removal game *Tiny Chills - Not From Ear* (hereinafter *Tiny Chills*) and *Militsioner*, where players must escape the watchful eye of a giant police officer. However, even with *TANUKI: Pon's Summer*, a game starring a cute tanuki, I don’t think it “strays” from CR’s image.How do you maintain your unique identity while offering such a wide variety of genres?

Rita: That’s right. *TANUKI: Pon’s Summer* serves as a sort of “palate cleanser.” It’s like watching a video of kittens after seeing a horror movie, I suppose.

As we expand the CRITICAL REFLEX catalog, the way we view games is that they form a sort of “solar system.” There’s a planet called “blockbuster,” and “smaller-scale games” orbit around it, complementing the experience. They’re just like appetizers or desserts enjoyed after a delicious meal.

Therefore, our main goal is to discover new planets—and the new “flavors” they offer. In Japan, we have a taste called “umami,” but this term and concept are not very familiar to Western audiences. What we’re aiming for is exactly the same thing. We’re trying to discover new “umami” for players all over the world.

――The uniqueness and coolness of the art style are one of CRITICAL REFLEX’s defining features. Do you pay particular attention to that aspect when selecting games?

Rita: In a sense, you could say we handle and support games with very distinctive characteristics. It’s important to find elements that capture players’ interest, and in many cases, visuals serve as the initial hook.

Realistically speaking, even if a game has a brilliant concept, we can’t be an effective partner if we don’t know how to market it. That’s why we believe “presentation” is a crucial element in introducing that experience to people. However, we don’t simply choose games based on their visual appeal alone. That said, it’s probably fair to say that, as a result, we’ve ended up with a collection of titles that have excellent visuals and a great sense of presentation.

――What kind of art or works do you personally enjoy, Rita?

Rita: Well… When I was a teenager, I was really into what you might call “art house films.” I’d check film festivals and eagerly look at which films were nominated. I think those experiences have had a major influence on my current expertise and the sensibilities I use when selecting works and media.

It’s hard to pinpoint a single thing as my “source of inspiration,” but I was drawn to unconventional forms of expression, such as unique color palettes and camerawork. I think our brand’s visuals convey this commitment to “aesthetic sensibility” and “attention to detail.”

――I also feel that *Tiny Chills* is a film you don’t see very often.

Rita: *Tiny Chills* was starting to gain attention onitch.io. But to be honest, it was a really creepy and incredibly strange game. I was checking out a few other games at the time, so I even considered putting together a bundle of games centered around the theme of “strange body parts.”

But I think *Tiny Chills* is a great example of a game that draws players into a very strange world through its theme, while actually having a deep story and characters you can really relate to. In that sense, it might be similar to *Mouthwashing*.

—I’m looking forward to seeing the “Body Parts Bundle” come together (laughs). So, who exactly is this “shiaru-chan” who showed up at the TGS booth this time…?

Rita: She’s a character who embodies the very essence of “CRITICAL REFLEX.” We actually conducted interviews both internally and on our large Discord channel. What we wanted to know was what kind of image people conjured up when they heard the name CRITICAL REFLEX.

You could say she’s the very embodiment of that image. She’s the kind of person who seems to have come from another world—someone who isn’t really present in the here and now, but instead lets her mind wander to fantasy worlds, places she’d like to visit, or worlds she’s encountered through the media… that’s the type she is.For example, she’s exactly the kind of person who’d enthusiastically explain some weird title no one’s ever heard of, or talk for hours on end about a strange video she found on YouTube.

――Last year, you had a real-life “Buckshot Roulette” and a “No, I’m Not a Human” door; this year, you’ve got escape games—your booths are really elaborate. What’s the thinking behind planning booths like these?

Rita: First of all, our basic philosophy—not just for events but in general—is to “do things others aren’t doing.” It’s fun to see other publishers follow our lead or take inspiration from our ideas, and that, in turn, fuels our motivation to constantly create something new.

This applies even to smaller details, such as our event launcher. It’s a tool for running games on PCs, and we recently updated it to include a voice guide feature provided by “shiaru-chan.” We added this because we thought staff members at the booth might sometimes need to read out instructions from their notes. From an experiential standpoint, I feel that these kinds of elements are what make things the most exciting.

Personally, when I attend events, the experiences that really stick with me aren’t just about getting merchandise or playing games—they’re the ones where I feel like I’m part of something bigger.I remember the first time I went to TGS. I was working for a different company at the time and saw an actor running a maid café. I couldn’t go myself because I had work at the booth, but ideas like that leave a strong impression. I used to think, “I wish we could do something that fun too,” and now we’re actually making that a reality.

――Regarding the high popularity of CR games in Japan, I think part of it is due to localization that fits the works of creators likenicolith. What kind of support do you provide to developers and translators regarding localization?

Rita: Working with him has been truly wonderful. I think we’ve been collaborating for over three years now—maybe even longer. The quality of his work is so high that it even feels as though we’ve been working together from the very beginning.

I’m especially grateful for the advice he provides. For example, with *SOS Recordings*, we didn’t just ask him to translate the text—we also consulted him on cultural background. We care deeply about our Japanese players, and we want the localization to not only feel natural but also ensure that, since the game is set in Japan, the depictions are as realistic as possible.

For instance, in the Japanese version, we carefully adjust the use of honorifics and how characters address each other in their conversations to ensure the dialogue flows extremely naturally. We strive for realistic depictions down to the very cans of drinks the characters hold in the game, and we take pride in the meticulous care we put into localization.

――Finally, there are many games currently scheduled for release. Could you share a few words for CRITICAL REFLEX fans in Japan who are looking forward to them?

Rita: I can’t name any specific titles this year, but we have several major titles scheduled for release. Among them are some that will be truly delightful surprises—titles we hope you’ll take the time to savor. In addition to the titles already known, we have many more in the pipeline that haven’t been announced yet.

It’s really hard to pick just one favorite title. It’s like trying to choose your favorite child from among your own.Personally, “GIMMIKO” is my favorite, but that one won’t be released until next year. So please be sure to keep an eye on CRITICAL REFLEX. We’ll also be announcing a lot of new information in “CR Time,” which is scheduled to be released in late fall, so don’t miss that either.

――Thank you very much!