Following last year's trend, a host of Korean gaming firms descended upon Gamescom once again. Major players like Krafton and Pearl Abyss anchored the floor with massive B2C booths, while smaller outfits including JoyCity, along with the development arms of Kakao Games and Wemade Max, also secured their spots. Netmarble, though officially absent, managed to showcase its latest titles via the Samsung Electronics and Xbox booths.

Looking at the current trajectory, we can expect an even larger contingent of Korean developers next year. The primary driver for these firms trekking all the way to Germany is the elusive dream of 'global success.' The real question, however, is whether the significant capital poured into Gamescom actually translates into tangible results.

The consensus among the Korean firms present is that this event serves as the ultimate stage to raise brand and title awareness across the West. Han Sang-woo, CEO of Kakao Games, noted on the show floor: "Gamescom is undeniably the biggest stage we have right now. It is a prime opportunity to showcase our products to a diverse audience and industry peers. For any company looking to expand beyond the domestic market, it is an invaluable venue."

Many industry insiders identify the lack of brand recognition as a critical barrier to global entry. A quick stroll through the Gamescom merchandise shops—filled with North American, European, and Japanese IP—makes it painfully obvious that Korean intellectual property remains a scarce commodity in the West.

IP is the lifeblood of modern gaming. Park Jun-seung, Head of Strategy at JoyCity, who showcased the new strategy title 'Survival Unit'—based on Capcom's Resident Evil—shared his insight: "We realized how pivotal IP was to the success of 'Pirates of the Caribbean: Tides of War' and 'Gunship Battle: Total Warfare.' Relying solely on marketing is less effective than leveraging an existing fandom to drive initial engagement."

The prevailing sentiment is that Western players pick games based on IP; if they don't recognise the name, even a well-crafted game might never get a second glance. You can build the finest mechanics in the world, but if the world doesn't know you exist, you have already lost.

Without building IP power, cracking the Western market is a non-starter. Choi Hyun-ho, Convention Planning Team Lead at Krafton, explained: "PUBG gained a massive Western following back in 2017. As those fans age and new ones emerge, we must keep the IP relevant. For 'inZOI', we came here to provide an unforgettable experience to solidify its growth as an IP and to foster our community."

Why Gamescom for IP building? Since the collapse of E3, Gamescom has cemented its status as the world's largest gaming trade show. Naturally, the industry's influencers and journalists are swarming to Cologne in record numbers.

For the press and creators, Gamescom offers a rare chance to cover multiple regions in one go. Through their broadcasts and reports, a Korean game can reach global audiences that might otherwise never have heard of it, potentially converting casual observers into dedicated players.

Krafton and Pearl Abyss certainly didn't waste any time. Krafton hosted a media day on the 20th (local time), immediately followed by an exclusive networking party for local outlets. Pearl Abyss went a step further, setting up a dedicated demo space for media and influencers right next to their 'Crimson Desert' B2C booth to ensure the word got out.

Building IP power means cultivating a fandom, and that requires direct engagement. Choi Hyun-ho of Krafton emphasised: "Gone are the days when you could just throw money at ads or basic localisation. Fan engagement is our primary marketing tool now, and it’s the engine driving our games forward." They are clearly learning the ropes of community management by showing up in force for consecutive years.

Netmarble, which partnered with Samsung Electronics to exhibit 'Monster Guild: Star Dive', is also hyper-focused on the user experience. Lee Sung-hoon, a Business PM at Netmarble, admitted: "One area we lack is the right mindset for dealing with overseas users. We are here to observe local reactions and learn from studios like HoYoverse that have mastered the character-driven model."

Song Kwang-ho, CEO of One Way Ticket Studio, which brought the zombie extraction game 'Midnight Walkers', agrees that direct interaction is mandatory. "Last year, we were here B2B to just say 'we're building this,' but this year, with a launch on the horizon, we needed to see how actual players react. Watching them play offline is a totally different experience than monitoring online metrics."

According to the 2024 Game White Paper, the domestic market is stagnating, with growth rates plummeting from 21.3% in 2020 to a mere 3.4% by 2023. With the global economy in a slump, relying on domestic success is no longer a viable strategy for long-term growth.

This is why so many Korean studios are sweating it out in Germany. They are fighting for their survival in an increasingly fierce global market. Whether these efforts will yield the desired results remains to be seen, but they have no choice but to try. Best of luck to them.