Krafton, the Korean publisher mostly known for being the shepherd of PUBG, who also gained a fair bit of notoriety last year for its ongoing legal battle with the founders of Subnautica developer Unknown Worlds, has reached an "all-time high" in revenue, according to its latest financial results. With growth driven by PUBG for a fifth consecutive year, Krafton surpassed ₩3 trillion ($2.05 billion) in revenue.
Most of that revenue growth came from its mobile sector, which brought in ₩1.7 trillion ($1.1 billion), followed by PC titles bringing in ₩1.1 trillion ($751 million), while consoles contributed ₩42.8 billion ($29 million). The PUBG franchise, which spans across mobile, PC, and console, saw "double-digit growth," driving the company's overall revenue to a 23% increase year-over-year.
Some of the company's record-breaking revenue came from inZOI, the new life sim game from 2025 that broke one million copies sold in its first week. The co-op survival game, Mimesis, also got a shout-out as it surpassed one million copies sold within its first 50 days as a new early access title from October 2025.
As for its outlook on what the company has coming in 2026, the upcoming extraction shooter, PUBG: Black Budget, is expected to drive further growth, as is the recently released (as in, this just came out three days ago) PUBG: Blindspot.
The company is also planning to lean more on AI after its announcement that it would transition to becoming an "AI-first" company last year. There are more than a dozen projects in development under Krafton, any of which (save for the PUBG-related ones) could help turn the publisher into more than just the PUBG company.
About the author: David has been writing about videogames, technology, and culture since 2020, with a focus on reporting daily news across multiple publications, including GameDaily.Biz, GameSkinny, and PlayStation Universe before joining Wccftech in 2025. David started contributing as Canada/US reporter for Wccftech's gaming section in 2025. Besides being up-to-date on the industry's movements, he loves interviewing developers, reviewing games, and writing intricate essays about the symbolism and layered meanings to be found in rich narratives as he's done for publications like GamesIndustry.Biz, LostInCult, and others. Outside of games he loves movies, music, theatre, his hometown, and his family, though not necessarily in that order.
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