On August 26 (local time), KRAFTON held a media day at Gamescom 2026 in Cologne, Germany, unveiling five new titles. The five projects brought to the stage shared no overlapping genres. The lineup featured immersive open-world FPS RPG 'NO LAW', team battle arena 'Project ZETA' under its own genre banner, two-player co-op adventure 'Age Twisters', East Asian dark fantasy action RPG 'TARAE: The Unbound', and battle royale with a roguelite twist 'PUBG: DED.NET'.

Presentations were led directly by the CEOs and directors of the studios developing each game. KRAFTON framed the event around its overarching message: "Pioneer the Undiscovered".

NO LAW

'NO LAW' is an immersive open-world FPS RPG developed by Uppsala, Sweden-based Neon Giant. Claës af Burén, CEO of Neon Giant, highlighted that market demand for such an experience has already been established. "We believe 'NO LAW' proves the demand for this type of gaming experience," he said. "We set extremely high expectations for ourselves, and by creating a memorable, immersive world, we are building on the gaming legacies of both Neon Giant and KRAFTON".

The setting, 'Port Desire,' lies in the border region of three nations. In a showcase video, the development team explained, "There is a space where no country could step foot, and out of that space emerged Port Desire, a city entirely free from regulation". Though a lawless city, it is not completely without order. 'Peacekeeping forces' deployed by outside nations guard the city—existing because preserving the status quo serves the interests of major powers—and clash with gangsters and mayors who run the city as they see fit. Referring to the protagonist as 'Gardner,' the developers said, "Why this city makes Gardner so furious is up to the player to uncover".

The core design pillar is player agency. The developers noted, "It was crucial that players could experiment and do whatever they want. Everything is about player agency and choice." Missions do not need to be solved sequentially, and players can jump back and forth between them. The city and missions are designed so stealth enthusiasts and combat-focused players enter spaces in completely different ways.

Action is equally open-ended: kicking enemies off balconies, detonating explosives, or triggering preset plans from afar to watch them unfold. CEO af Burén said, "We don't restrict you with rules like 'you can't shoot here.' You can always shoot and always create utter chaos."

Details are filled in through environmental storytelling. "If you're the type of player who inspects missing dog flyers on a counter, you'll find small stories scattered all across the world," said af Burén, adding that the city was built vertically so rooftops serve as traversal routes. As for choosing the cyberpunk genre, he cited that it is "a perfect playground that can be ridiculous and exaggerated at times while remaining grounded in reality."

Project ZETA

'Project ZETA' is a third-person multiplayer game developed by NIRVANANA, where four teams of three clash on the 'Aran Plateau' for about 20 minutes. Scoring 1 point requires securing the core resource, 'Prism,' and depositing it into the central 'Stabilizer'. The first team to reach 5 points takes 1st place.

NIRVANANA CEO Namseok Kim likened the Prism to a basketball and the Stabilizer to a hoop. He outlined three gameplay goals: a tactical hero arena with constant objective pressure and scoring battles; a structure eliminating the laning phase to jump straight into objective-driven skirmishes from 2–3 minutes in; and an environment where the fun of ability-based hero PvP is not diluted on controllers or consoles.

He proceeded to explain what the game is not. It is not a MOBA because it lacks laning, bases, and Nexuses; it is not a battle royale because it does not limit lives to test survival; and it is not a hero shooter because there is no crosshair in the center of the screen and basic attacks auto-hit by design.

"Victory is decided not by aim, but by reading the battlefield, positioning, teamwork, and smart mobility," Kim said. "It's closer to a 3D fighting game than a hero shooter—a psychological battle of predicting movement, dodging, and choosing when to engage." He cited experience from previous titles as the rationale: "When limited respawns and real-time growth mix, players naturally play safe, leading to fewer major team fights. There was a paradox where, even as participant counts grew, big moments and explosive team fights actually decreased. We started ZETA with the determination to fix that broken equation."

Specific metrics were also disclosed. In the first global community test in late June—based on ~20-minute matches without surrenders or leaves—the highest multi-kill record was 11 kills, and matches with 10 or more multi-kills accounted for 1.1% of all games. The average multi-kills per match stood at 4.4 times, meaning a play between a quadra kill and a penta kill occurred every single game. Team fights averaged 18.3 per match, reaching up to 34. Kim described the game as "dropping MOBA heroes onto an F1 hairpin turn without waiting for a 15-minute setup," calling it "4 teams, no brakes, constant high-risk collisions."

Following Gamescom, NIRVANANA will host its second global community test on Steam from next Friday to Sunday. The test will feature updates addressing issues identified in the first test and add two new heroes: 'Nova Crash,' a righteous mechanical warrior hunting the evil syndicate 'Black Hexagon,' and 'Azrael,' a dogmatic, cold-blooded assassin. Kim said, "Even if it isn't us, someone will open a new future for MOBAs. We will do everything we can alongside the player community to make ZETA that game."

Age Twisters

'Age Twisters' is a two-player co-op adventure developed by Barcelona, Spain-based Piccolo Studio. Director Jordi Ministral introduced the studio as "35 people based in Barcelona who have been making games for 10 years," outlining three core principles: start from an emotional theme, craft original gameplay tied to that theme, and convey high artistic value.

The theme of this title is the generation gap. Director Ministral first addressed generational stereotypes: older people complain and are blamed for the world being a mess, while younger people don't want to work, are lazy, and do nothing but complain—attitudes that repeat across generations. "The elderly were young once, had dreams, and wanted to change the world. Life just turned out that way," he said. "The young will also grow up. Right now they just don't know any better, but they learn over time. It's a journey we all go through." He explained that he wanted to create a game that bridges that divide.

The protagonists are a grandfather and his granddaughter. Their relationship is defined by their background: after her mother passed away when the granddaughter was an infant, the grandfather raised her. The story begins on the day the granddaughter comes of age. A box arrives from the mother believed to be dead, containing a letter instructing them to retrace her steps to uncover past secrets, alongside a clue to locate 'Factory 206.' Two bracelets lie at the bottom of the box. Director Ministral explained that during this journey, the grandfather recovers his feelings from a time when everything was driven by emotion, while the granddaughter learns what it feels like to be responsible for someone else.

The bracelets ARE the 'Age Twisters.' Director Corominas revealed that players can freely shift between childhood, adolescence, young adulthood, and old age at any time. As a game centered on age, taking damage inflicts 'Age Damage' rather than ordinary damage. When enough accumulates, a character turns into a baby or a skeleton; if only one player transforms, the other can reverse it. If both reach an unplayable age, it results in a game over and restarts on the spot. Abilities vary by age stage: Childhood pulls objects and swaps positions with any character in the world; Adolescence uses musical instruments to slow down moving objects; Young Adulthood breaks walls and operates machinery; and Old Age magnetizes metal objects to grab and throw them. As players progress, they can combine abilities across different age stages.

Tools and vehicles add further depth. Weapons that age or de-age targets can grow palm trees or turn dinosaurs back into eggs; an umbrella reflecting lasers helps escape prison; and disguising as a cactus allows players to stay undetected by standing still. Segments where one player drives while the other shoots, giant robot sequences, and a boss battle against an animatronic T-Rex are also prepared.

While the narrative follows a single linear structure without branches, the dialogue varies. Lines change completely depending on the combined age of both characters at that moment, with all possible variations fully written and voice-acted. Director Ministral said, "Looking at a dinosaur as a child is different from looking at it as an old person. A conversation between two teenagers is also different from one between a teenager and an elder." The game is exclusive to two-player co-op, supporting both local and online play, and features a Friend's Pass where only one player needs to purchase the game. It is scheduled to launch next year across major platforms.

TARAE: The Unbound

'TARAE: The Unbound' is an Eastern dark fantasy action RPG developed by Boundary. In-young Koo, CEO of Boundary, introduced the title saying, "We are presenting for the first time our endeavor and reflections on reinterpreting Eastern imagination through dark fantasy." He explained that the studio sought to draw a fresh dark fantasy based on Eastern traditional aesthetics and mythical imagination, and this endeavor served as the starting point not just for the worldbuilding, but for core gameplay elements.

The narrative begins with the Buddhist Six Realms of Reincarnation. Beings roaming the Six Realms continuously reincarnate within its bounds according to their accumulated karma. The title stems from this concept. CEO Koo stated, "We named the project 'TARAE' to express the form of countless entangled and bound sins finally coalescing into a massive knot." The Samdocheon, a river flowing on the boundary between the living world and the afterlife, shares a concept with the River Styx of Greek and Roman mythology. On its banks stands a tree that hangs the clothing of the deceased to weigh their karma before sending them down one of three paths. The game opens as an entity born in the Samdocheon twists and cracks the trajectory of the tightly bound Tarae.

The setting spans 15th to 17th century East Asia. CEO Koo stated that breaking away from traditional action RPGs that borrow Western medieval culture, the game reinterprets the historical contexts of Korea, China, Japan, and Mongolia through dark fantasy. The team's deepest focus was on class design. "The element we agonized over most fiercely to complete an Eastern world was the classes," he explained, noting that rather than generic classes with surface-level Eastern looks, they reinterpreted unique historical professions. A prime example is the 'Mansin,' a reinterpretation of Korea's native spiritual medium (mudang), featuring unique combat mechanics of spirit possession, devotion, and divine descent. Other revealed classes include the 'Chakho Gapsa' utilizing gunpowder and traps, the 'Fengshui Master' leveraging the five elements, and the 'Kunoichi' wielding ninjutsu.

Combat utilizes a system optimized for top-down action. One pillar is mob hunting, sweeping through swarming enemies across wide battlefields, while boss battles demand precise controls and meticulous strategies. Players must strategically manage 'Stamina' used for sprinting and dodging; executing a perfect dodge in sync with enemy attacks refunds a portion of spent resources, allowing for fluid combat. Every boss possesses unique attack patterns.

Class differentiation is also highlighted as a core element. Each class features distinct signature skills—such as the Samurai's sword stances, the Fengshui Master's elemental harmony, and the Fiend's combo attacks—complemented by utility skills that augment or modify them. A single special skill that unleashes the class identity can be customized via masteries to match player preference, combined with unique traits and Yin-Yang system combinations.

CEO Koo's final emphasis was on narrative. Defining the game's top priority as "a heavy narrative with the feel of a traditional premium game," he said, "To prevent the story from being wasted on growth and farming focus, we concentrated on a narrative-driven campaign so players can enjoy the journey through the cycle of karma itself".

Upon finishing the campaign, players transition into an endgame focused on the thrill of build-crafting, with details on endgame content to be revealed later. He added, "We don't believe every player rushes solely for the endgame. We are refining the action and quality of the narrative so that anyone following the deep lore to experience just the campaign ending will feel fully satisfied." The game aims for a simultaneous release on PC and consoles.

PUBG: DED.NET

'PUBG: DED.NET' is a new title developed by PUBG Studios. Dave Curd, Vice President and Creative Director of PUBG Studios, introduced himself as a battle royale fan who has worked at PUBG Studios for nearly a decade, saying, "The formula of landing, looting, and surviving that PUBG pioneered is ten years old. We wanted to evolve that formula, and that was the starting point for DED.NET."

The motivation behind the game was challenging existing genre norms. Director Curd pointed out that modern live-service shooters are obsessed with a level playing field, noting, "It's perfectly balanced as long as you look up the right way to play on YouTube." He felt that "chasing the perfect live-service shooter started at some point to get in the way of delivering a fun game," opting instead for "raw, uncontrolled chaos with higher highs and lower lows" over a perfectly fair experience. The goal, he explained, is a game that can be played intensely competitively or enjoyed casually with a beer on the couch.

The vehicle for this vision is the roguelite genre. It features a structure where players grow their characters, gain abilities, manage injuries, and pursue builds across multiple matches regardless of wins or losses. Director Curd said, "In DED.NET, every time you lose, you get one step closer to the perfect build. You're not playing a match, you're doing a run." Each game serves as a chapter in that run, where players hunt for 'ROMs'—game cartridges plugged into the head to unlock new gameplay abilities. The trade-off is injuries. "Injuries are both hilarious and painful, and they become increasingly difficult to manage over time. If too many accumulate, your run ends," he summarized. "You play a match, find ROMs, build power, manage damage, and extract before injuries catch up to you."

The setting is 'Cascadia,' a reinterpretation of the 1990s Pacific Northwest. Director Curd cited being a teenager in the 1990s as the reason for choosing the era—a time with one foot in analog and one foot in digital, a remix era featuring gangster rap, grunge, alternative music, the Hughes brothers, and Quentin Tarantino films. "Things that didn't seem to belong together fit, and that was magic," he said. "We want to use those cultural touchpoints to satirize the modern world."

The game title DED.NET stems from "Dog Eat Dog." Describing the world as dark, funny, and messy, he added, "Look around—that's the world we live in, and survival of the fittest is PUBG's oldest theme."

What fills Cascadia is music. Director Curd highlighted featuring real music that defined the era, naming Biggie (The Notorious B.I.G.), Wu-Tang Clan, Pixies, and Nine Inch Nails. The tracks flow from dive bars, strip clubs, car radios, and sometimes from rival players carrying boomboxes. The terrain is built on contrast: deep forests, rolling hills, and steep alpine zones mixed with abandoned small towns, desolate farms, and hazardous outposts.

Director Curd concluded, "Every session in DED.NET creates its own story, and death within it isn't the end—it's the next chapter. We don't promise a happy ending, but we promise the road getting there will be a blast."