The Reality of the Numbers: 20,000 vs. 200,000

The G-STAR Organizing Committee reported approximately 20,000 visitors to the Indie Showcase over four days. While the number seems significant, it represents only 10% of the total 200,000 attendees. Furthermore, because the showcase lacked a separate registration or check-in system, critics argue this figure might be an estimate based on the total traffic of the 2nd Exhibition Center rather than dedicated indie fans.

Location, Location, Location: Tucked Away in the Corner

The most glaring issue was the physical placement of the showcase. While the 1st Exhibition Center buzzes with the energy of major AAA publishers, the Indie Showcase was relegated to the furthest corner of the 1st floor of the 2nd Exhibition Center. For a genre that thrives on discovery, placing it so far from the main foot traffic suggests a lack of prioritization by the organizers.

Stove Indie: The Saving Grace of Operations

Despite the venue’s shortcomings, the operational quality was a standout success. This was largely thanks to the partnership with Stove Indie. By deploying professional staff with years of experience in managing indie-specific events, the showcase maintained a high level of polish. Stove Indie’s sincere commitment to the indie scene provided a much-needed backbone for the participating developers.

From BIC Collaboration to Independence

2023 marked the year G-STAR moved away from its long-standing joint pavilion with the Busan Indie Connect (BIC) Festival. While this move signaled an attempt at “independence,” it also forced developers to choose between two major events held at the same venue (BEXCO) within just a few months (August and November). This redundancy places a significant logistical and financial burden on small-scale creators.

The Road Ahead: Treat Indies as a Main Pillar

For G-STAR to truly foster the K-Indie scene, a fundamental policy change is required.

1. Main Stage Integration: Move indie games from the “backroom” of Hall 2 to the heart of the main exhibition halls.
2. Global Connectivity: Use G-STAR’s platform to invite global buyers specifically for indie IP, rather than just general BTB matchmaking.
3. Interaction over Exhibition: Focus on creating spaces for meaningful exchange between developers and users, which is the essence of any indie festival.

Indie games are the seeds of the next global hit. For G-STAR to remain a premier global game show, it must treat these seeds with the respect they deserve—starting with a better seat at the table.

We hope that G-Star can be the starting point and main stage for Korean indies to become global stars.

[Column] Independence or Neglect? A Review of the G-STAR 2023 Indie Showcase - 인디게임닷컴.

Seongnam City has been holding a game culture festival through SeN (Seongnam e-Sports Festival) until 2022, where various groups such as game users, families, and citizens can communicate starting this year, the Seongnam Industry Promotion Agency, Game Culture Foundation, and Korea Game Industry, Together with the association GXG 2023.

Games are a vital content industry in Korea that generates exports of over 20 trillion won annually, and Seongnam/Pangyo, in particular, has a status worthy of being called a hub city for the gaming industry, responsible for about 10 trillion won of this. GXG 2023 has established itself as a symbolic event that conveys the cultural value of games to the 10,000 citizens who filled the square at Pangyo Station in Seongnam, the center of the game industry. In particular, the event was conducted by Mayor Shin Sang-jin himself, breaking away from the customary congratulatory address. He gave the opening speech and explained in detail the importance and value of the gaming industry in Seongnam and Pangyo, saying, “Starting from GXG 2023, Seongnam City will take on the role of a new gaming hub city that organically encompasses gaming culture.” He explained his strong will to foster the game culture industry by saying, “We will move toward Seongnam of Hope by incorporating cutting-edge technology, innovation, and the identity of culture and arts based on the 50-year history of games in Seongnam City and the Republic of Korea.”

In particular, this day’s event was held as a multicultural festival focusing on various elements of games, such as game exhibition events, music, story, art, design, humanities, and imagination, in line with the motto ‘Enjoy games and culture!’, and was held at Pangyo Station Square. A particular stage and booth were operated where guests could enjoy the opening ceremony, flea market, board game experience, and face painting, as well as additional programs, and at Pangyo Tech Center and Kakao Pangyo Azit, conferences, networking, and exhibition programs on various topics were held together to showcase the gaming experience. It became an event that presented a new vision that redefined cultural and artistic values.

We look forward to and support Seongnam City and the Republic of Korea as they go beyond the industrial status of games and create new future values for culture and art!

‘GXG 2023’ Game is Blooming with culture and art in Seongnam. - 인디게임닷컴.

Lecture 1: Indie developer’s grasp of the game concept

Lecture 2. A composition that continues the immersion of the game

Lecture 3. Game tutorial and grasping the core of play balancing

Lecture 4. How to optimize the store to make your app stand out

Lecture 5: [Case Study] The secret behind 1 million downloads of indie games?

Appendix 1: Basic Understanding of IP Utilization

Appendix 2: Free graphic resource information

Appendix 3: Free Game Development Online Academy Information

Appendix 4: Overseas market user information

Appendix 5: Free Consulting Information for the Global Expansion

Appendix 6: Global game industry trend Information June 2023

Column 1: User-friendly game design

Column 2: Supporting Game Literacy

Game College(게임대학) Vol 1 - 인디게임닷컴.

Game launching/Development/Business/column/indie game reviews/event visits/lectures, etc. We welcome any articles on indie games.

Please send it to desk@indiegame.com

You can attach a link to your site or blog, along with the article.

The Korean indie game industry has evolved from a niche movement into a global powerhouse of innovation. As the world watches the creative breakthroughs of K-Indie, Indiegame.com is inviting you—the developers, critics, and enthusiasts—to join our mission. We are looking for passionate contributors to share their unique perspectives and help shape the narrative of the indie ecosystem.

What Kind of Content are We Looking For?

We welcome any writing that contributes to the growth and visibility of the indie game industry. Whether you are a solo developer sharing a post-mortem or a fan with a deep-dive review, we want to hear from you.

Accepted Topics Include:

• Release News: Announcements of new titles and major updates.
• Development Logs: Behind-the-scenes stories of the creative process.
• Business & Strategy: Insights into the indie market, publishing, and funding.
• Columns & Editorials: Thought-provoking opinions on industry trends.
• Game Reviews: Deep dives into indie titles from a player’s perspective.
• Event Coverage: On-the-ground reports from game shows and seminars.
• Tutorials: Practical guides for fellow developers (coding, art, marketing).

Reach a Global Audience

Indiegame.com is not just a local hub. All selected articles are translated and distributed globally in both English and Japanese, giving your voice an international reach. This is a unique opportunity to showcase your work or your expertise to a worldwide audience of developers and gamers.

How to Submit

If you have a story to tell, please send your draft or pitch to: desk@indiegame.com

Submission Guidelines:

1. Links Allowed: You are welcome to include links to your personal website or blog.
2. Editorial Review: All submissions will be reviewed by the Indiegame.com editorial team. We reserve the right to edit content for tone, clarity, and alignment with our editorial standards.
3. No Pure Marketing: Articles intended solely for commercial marketing or those that violate our operating policies will not be published.
4. Copyright & Ownership: Authors retain all ownership and copyright for their submissions. You are responsible for the content provided. Indiegame.com will not use your work for any commercial purposes without separate consent.
5. Response Notice: Due to the high volume of PR requests and submissions, we may not be able to provide individual feedback on every pitch.

The indie scene thrives on the diversity of its creators. By sharing your journey and insights, you are not just telling a story—you are providing a blueprint for the next generation of K-Indie innovators.

Become a Voice for the K-Indie Scene: Indiegame.com is Seeking Guest Contributors! - 인디게임닷컴.

While the Korean game industry has grown into a global powerhouse generating over 20 trillion KRW in annual revenue, the reality for small and mid-sized developers is often grim, overshadowed by high marketing costs and market polarization. In these challenging times, we must look back at the roots of indie games—the true light and hope for the future of K-games.

1. The 1990s: The Era of “Amateur” Development

In the 90s, the term “Indie Game” didn’t even exist in Korea. Instead, they were called “Amateur Games.”

• 1999 – Jeu Media’s AGC: The first major milestone was the Amateur Game Production and Scenario Contest hosted by Jeu Media.
• The Pioneers: Legendary first-generation developers from companies like Sonnori, Trigger Soft, and CCR served as judges, planting the seeds for future talent.
• Expert Insight: “The effort to discover and support indie developers has been a consistent part of the industry since the late 90s, long before the industrial foundation was even fully formed,” recalls Professor Jung Mu-sik of Gachon University, who participated as a judge in the 6th AGC.

2. The 2000s: From Amateur to Institutionalized Contest

The Korea Game Developers Association (KGDA) took the baton in 2003, launching the 1st Korea Indie Game Contest in conjunction with the Korea Game Conference (KGC).

• The Birth of GIGDC: Eventually, this evolved into the Global Indie Game Development Contest (GIGDC), now the premier cradle for discovering talent, receiving over 300 entries annually from middle schoolers to university students.

3. The 2010s to Present: A Flourishing Ecosystem of Festivals

If GIGDC is the “nurturer,” then BIC Festival (Busan Indie Connect), launched in 2015, is the “global stage.” It has become a festival where domestic and international indie developers exchange ideas and passion.

Today, the K-Indie support network is more diverse than ever:

• Indie Craft (Seongnam): A hub for developers in the Seoul metropolitan area.
• Burning Beaver (Smilegate): A high-energy hybrid festival focusing on the “creators” themselves.
• BICS (Bang-Guseok Indie Game Show): A collaborative effort between SBA and Neowiz.
• Out of Index (OOI): A festival dedicated to “experimental” games that prioritize innovation over marketability.

Conclusion: The Spirit of the 1st Generation Lives On

The giants of the 1st generation—Makkoya, Mirinae Soft, Family Production, Sonnori, and Trigger Soft—all started as pure indies who simply loved making games. This “indie spirit” is the DNA of the Korean game industry.

Without the silent supporters who funded these contests and festivals when success was uncertain, we would not have global hits like Cat Garden, Skul: The Hero Slayer, My Oasis, Little Witch in the Woods, or Lobotomy Corporation. The history of K-Indie is a story of shared survival and mutual growth, a history that must continue to be written.

[Column] Tracing the History of South Korean Indie Game Contests: Why Indie is the Root of the Industry - 인디게임닷컴.

I went to the global indie game festival ‘2023 Indiecraft The FESTA‘!

‘2023 Indiecraft’, a global indie game festival hosted by Seongnam City and supervised by Seongnam Industry Promotion Agency and Korea Mobile Game Association, was supported by a total of 263 small and medium-sized indie game developers, of which 60 were selected as excellent works. It was a great event to choose and exhibit.

In particular, the opening ceremony was attended by Seongnam Mayor Shin Sang-jin, Seongnam City Council Chairman Park Gwang-soon, Korean Game Policy Association President Lee Jae-hong, Korea Mobile Game Association President Hwang Seong-ik, Gachon University Professor Jung Musik, and Korea Game Media Association President Lee Taek-soo, etc. has been added.

Above all, it was significant that many game media actively participated in this event and sincerely supported indie in the Korean game industry. It is no exaggeration to say that the Korean game industry has grown to this extent based on the depth and insight of the Korean game media and sincere affection and support.

Because of this, Lee Taek-soo, president of the Korea Game Media Association, said, “I believe that the sincerity of Korea Game Media, who gathered today to support Korean indie developers, will be fully conveyed to indie developers.”

In addition, “The pain of creation that indie game developers go through and the path of adversity that they must walk silently to impress global users, you who are standing for that path are not wrong, and we are all walking that path together. It is worthwhile,” Professor Musik Jung’s congratulatory speech at the end is expected to leave a lasting impression on indie game developers.

“Indie is the hope of Korean games!”

Contains sincere support for K-indie game developers! - 인디게임닷컴.

With the whole nation in shock due to the Halloween disaster in Itaewon, some outdoor events of ‘G-Star 2022’, the largest game exhibition in Korea, scheduled to open at BEXCO in Busan on the 17th, are expected to be canceled. The purpose is to prioritize safety management as it is an event that mourns the Itaewon disaster and draws a large number of people.

This year’s G-Star’s main sponsor, Wemade, has decided to cancel the fireworks and drone show scheduled to be held at Haeundae Beach on the 18th. Wemade originally planned a large-scale event to celebrate G-Star, which has been normalized for the first time in three years due to the aftermath of COVID-19.

The G-Star Organizing Committee is also considering whether to cancel the festival program held outdoors during the event period. The organizing committee said on the 3rd that it will review the plans for the event with the police, fire department, and the competent ward office, and focus on the safety of visitors as the top priority.

The game industry has also suspended events it is planning to join in mourning the Itaewon disaster. Nexon postponed the G-Star 2022 preview meeting scheduled for the 2nd, and most game companies such as NCsoft, Netmarble, Kakao Games, Smilegate, and Pearl Abyss temporarily suspend or cancel the event and mourn the tragedy.

G-Star 2022, focus on safety management first… Full review of outdoor events - 인디게임닷컴.

The Power of Play: Gaming’s Massive Export Share

The most striking figure in the report is the gaming industry’s contribution to international trade. Gaming exports reached approximately $9.44 billion, a 15.2% increase from the previous year. This single sector accounted for a staggering 69.5% of total content exports, driven by the global success of titles like NCSoft’s Lineage W and Wemade’s blockchain-integrated MIR4.

Digital Transformation and IP Expansion

The report highlights that the industry’s recovery was fueled by rapid digital transformation and the expansion of Intellectual Property (IP).

• Comics/Webtoons: Saw the highest revenue growth at 23.5%, as K-webtoons solidified their dominance in global platforms.
• Music: Export volume surged by 38.5%, supported by record-breaking physical album sales and the rise of NFT-linked digital goods.
• Contrasting Sectors: While knowledge information (+10.2%) and content solutions (+9.3%) flourished, the film industry (-8.7%) continued to struggle due to the slower-than-expected recovery of the theater market.

Emerging Trends in a Post-Pandemic World

The 2021 analysis identified several pivotal shifts that have since become industry standards:

1. Digital Goods: The integration of K-pop with NFTs and the emergence of virtual influencers.
2. Consumption Shifts: Changes in music streaming patterns via YouTube Music and a “kidult” driven surge in character-related consumption.

In addition, the report contains information that can comprehensively view the changes in the content industry environment in the second half of 2021 and the year, such as major macroeconomic trends, management experience of content companies, and analysis of corporate status. You can download the report of from the website of Conjinwon (www.kocca.or.kr).

[Analysis] Gaming Drives 69.5% of Exports as K-Content Revenue Hits 136 Trillion KRW in 2021 - 인디게임닷컴.

Researchers at KAIST (Korea Advanced Institute of Science and Technology), in collaboration with Yonsei University and industry partners, have published a groundbreaking online guide titled “Game Design Guide for Adults in Their 50s and Older.” This multidisciplinary project aims to bridge the generational gap in the gaming industry, providing developers with the tools to create accessible and engaging experiences for the rapidly growing senior demographic.

Why a Senior-Specific Guide is Necessary

While the gaming industry traditionally targets younger audiences, data from the Korea Creative Content Agency (KOCCA) shows a significant shift:

• 57.1% of people in their 50s are active gamers.
• 37.15% of people aged 60 to 65 engage in gaming.
• Senior gamers demonstrate a willingness to purchase in-game items/currency comparable to younger generations.

Despite this, most modern games present significant barriers to entry for seniors, including hyper-fast reaction requirements, tiny text/objects, and overly complex interfaces. Furthermore, many seniors feel alienated by game narratives that do not resonate with their life experiences or contain ageist stereotypes.

Key Features of the Design Guide

The guide is the result of a three-year study (2019–2021) involving “Intergenerational Game Living Labs,” where researchers played games alongside seniors to identify pain points and success factors.

Insights for Developers: Lowering the “Barrier of Entry”

The guide translates complex psychological and physiological data into practical “design grammar.”

“By improving the accessibility of game interfaces—which can often be cognitively burdensome due to aging—we can lower the initial entry barrier,” said Professor Young Yim Do of the KAIST Graduate School of Culture Technology. “We hope this guide leads to the creation of more senior-friendly games, ultimately expanding the overall scale of the gaming market.”

Practical Design Considerations:

• Visual/Motor Coordination: Adjusting the “timing window” for action games to account for slower reflex speeds.
• Visibility: Ensuring critical objects and fonts are scalable and high-contrast.
• Social Elements: Designing mechanics that encourage connection rather than high-stress competition.

Access the Guide

The guide is available for free in both Korean and English on the WikiDocs platform, supported by the Ministry of Culture, Sports and Tourism and KOCCA.

• Korean Version: 세대를 연결하는 게임 디자인 가이드
• English Version: Game Design Guide for Adults in Their 50s and Older

The Indie Opportunity in 2026

In 2026, as the “Silver Economy” continues to boom, indie developers have a unique opportunity to lead the way in “inclusive gaming.” Large AAA studios often overlook the niche needs of seniors, but indie studios can pivot quickly to create “meaningful play” experiences that foster intergenerational connection.

• Korean: A guide to game design that connects generations: Focused on game users in their 50s and older

• English: Game Design Guide for Adults in Their 50s and Older

KAIST Releases Design Guide to Empower Senior Gamers Aged 50 and Older - 인디게임닷컴.

Unity released the ‘2022 Game Industry Report’ on the 18th, which was analyzed based on data obtained from 230,000 content developers created or operated with its solutions.

This report deals with the fact that games have been used as a communication channel for users in an era of isolation and isolation. According to the Unity Operational Solutions data, the growth of the game industry is expected to continue, unlike the economic sector that is experiencing a downturn due to the pandemic. In fact, the number of game users last year increased significantly compared to before Corona 19, and the game industry has also been continuously growing to meet demand.

Several industry reports have announced that the gaming industry will grow to more than $300 billion by 2027, and that growth curve has also been shown on the Unity platform. In 2021, the number of games made with Unity increased by 93% and new game creators also increased by 31%. It is also reported that the cost of users spending on games has also increased. Unity engine-based game sales are expected to grow 30% YoY.

The influx of potential customers in the industry has also increased significantly after the COVID-19 outbreak. The number of daily users who play games (DAU) has risen compared to before the pandemic, and since early 2019, the number of daily users for PC and console games has increased by 62%, and the number of daily users for mobile games has increased by 74%. In addition, the number of casual games and related revenues increased by 13% and 40%, respectively, contributing to the growth of the game industry.

It appears that the overall development studio is also increasing the use of various tools and services. More than 91% of large studios use player engagement and segmentation services, along with in-app purchase services (88%), analytics (76%), and authentication and privacy services. Small studios were also found to use a lot of monetization and user acquisition solutions.

Ingrid Lestiyo, Senior Vice President and General Manager of Unity Operational Solutions, said, “Facing with the increased demand and expectations of users during the pandemic, Unity is a creative tool that can lead to the growth of more creators and the participation and communication of game users. and provided an innovative method.” “The enthusiasm and resilience of this community of developers fuels our commitment to making our vision as simple and easy as possible to realize our vision,” he said. to provide,” he said.

“The past year has been an encouraging year to witness the growth of the game developer community,” said Marc Whitten, senior vice president and general manager of Unity Create Solutions. Whether a developer has become a full-time developer, I have been amazed at the tremendous creativity that exists in the game industry.” “I am very happy to be able to provide a tool that allows many people to create their imaginary games in real life,” he added.

Meanwhile, Unity will present the report at the Game Developers Conference (GDC) 2022 to be held in San Francisco from the 21st to the 25th (local time), explaining in detail the game industry trends and user analysis. Unity’s ‘2022 Game Industry Report’ can be found through the link.

[Link to Unity Gaming Industry Report page]

Unity developer 230,000 data analysis ‘2022 game industry report’ released - 인디게임닷컴.