Gamescom 2026 draws 368,000 visitors, Mobile Mavens weigh in

Claire Rozain opened with a point about competition and user acquisition: studios are launching increasingly polished games while chasing the same players, attention and acquisition channels. She warned that the next big UA challenge isn’t merely finding installs but identifying the environments that deliver high-value payers at sustainable payback, and she’s building tooling to tackle exactly that. Her Payment Propensity Score will connect to MMP and benchmark tool data to measure which source games and apps consistently generate payers and IAP revenue, giving UA teams an inventory intelligence and governance layer. Claire singled out the limits of AI-optimised ad algorithms when advertisers lack visibility into inventory quality; her solution aims to distinguish inventory that produces installs from inventory that produces long-term paying users.

Gordon Thornton spent his time watching creator ecosystems, with Roblox emerging as a major focal point in conversations across the week. His takeaway wasn’t about Roblox itself so much as the migration path for its creators as they expand into native mobile, PC and console platforms. He described a culture shift coming to traditional modding and custom-content spaces: Roblox’s ecosystem treats creator monetisation as standard, whereas modding has historically relied on community kudos and unpaid labour. Thornton spoke with modding platforms already experiencing this change; an incoming generation treats custom content as a paid career, and that expectation shapes how they approach platforms and partners. His view is practical: the industry needs to build progression paths from Roblox into other platforms that match creators’ expectations around reward and career growth.

Mahmoud Ziater spent most of his Gamescom time in the trade halls and international pavilions, highlighting Thailand, Qatar and Morocco as places showing how countries are positioning themselves to create opportunities for local studios. He noted a broader regional shift over the past decade away from the Americas and Japan toward a wider geographic representation, and he pointed to MENA's first AAA-scale project on the show floor as a vivid example. Mahmoud played 1001 Threads of Mizan from MBC Games Studio and described its presence as especially meaningful for the region: a AAA-scale release representing MENA at one of the world’s largest gaming events. He also reported a busy, energetic Indies area where long queues and crowded booths signalled strong public interest in independent games — though he flagged a less welcome note, saying some developers suffered equipment theft while exhibiting, which was particularly disappointing given the investment they’d made to show their work.

Louise Wooldridge flagged an obvious change in exhibitor mix: a noticeable increase in stands from Chinese companies, often built around aesthetic themes like romance or ‘romantasy’ rather than combat or horror. She described those stands as beautiful and ethereal, and she singled out Love and Deepspace as an example where cosplayers and staged interactions drew large crowds and long lines. Louise connected the surge to a broader commercial interest in romance-driven content — visible across media and in Western titles where romance sits as a pillar — and she emphasised how much of the show floor activity becomes marketing content. With almost 380,000 attendees filming and sharing stand installations, cosplayers and photo ops, publishers are deliberately packaging physical experiences into digital marketing assets. Louise put it plainly: when discovery is crowded online, publishers are spending on offline spectacle to generate shareable content for social channels.

Mor Aviram spent three packed days moving between indie events, booths, publishers, investors and developers and came away convinced the industry’s attention — and increasingly its capital — is circling indie teams. She highlighted that the Indie Arena gathered 180-plus developers and 17 publishers, and she pointed to Q2 2026 as the strongest quarter for gaming financings in 12 months, with more than 10 new gaming funds announced representing over $2 billion in capital, including funds focused on indie financing. Mor told us investors, publishers and funds were actively scouting small teams with distinctive ideas, and she laid out practical advice for indie teams: start early, build community, meet creators, and talk to publishers and investors. Her tone was energised but clear-eyed: more opportunity exists, but that also raises the bar for attention and shareable moments.