Gamescom 2025 Delivers Excitement—And a Reminder the Industry’s in Trouble

Gamescom is supposed to be a celebration. A hype-fueled, trailer-packed, serotonin-delivering spectacle where we all pretend we’re not broke, burned out, or quietly mourning the death of our favorite studios. But this year? It felt like someone threw a party and forgot to invite joy.

Yes, there were announcements. Yes, there were games. But the whole thing had the emotional tone of a corporate PowerPoint with confetti. The industry is clearly hurting, and Gamescom 2025 tried to slap a smiley face on it and hope no one noticed.

The Games Look Great—But the Vibe Is Off

Let’s start with the good stuff. Resident Evil Requiem looks terrifying in the best way, and Capcom finally gave us a giant woman who doesn’t immediately trigger “step on me” memes. LEGO Batman: Legacy of the Dark Knight is shaping up to be a chaotic delight, and Matt Berry voicing Bane is the kind of casting that makes you believe in art again.

But even with those wins, the energy felt… hollow. Like the industry is trying to convince us everything’s fine while quietly bleeding out behind the curtain. The trailers were polished. The presentations were slick. But the soul? MIA.

Vampire: The Masquerade 2 Is Back—And Immediately Charging You Extra

One of the biggest surprises was the return of Vampire: The Masquerade – Bloodlines 2. A game that’s been in development limbo for so long, most of us assumed it was quietly buried in a digital graveyard. And now it’s back—with a release window and a $30 surcharge if you want access to all the clans on day one.

It’s the kind of move that makes you wonder if publishers are just testing how far they can push before players snap. Want the full game? That’ll be $60. Want the rest of it? That’s another $30. Want to play it early? Toss in $10 more, and we’ll think about it.

It’s not just monetization—it’s mood. This kind of nickel-and-diming feels especially tone-deaf when half the devs behind these games are being laid off mid-cycle.

The Industry Is Smiling Through the Pain

Gamescom’s opening night stream felt like a fever dream. Not bad, just… weird. Soulslikes blend into each other like an action-packed watercolor painting. Shooters that look like other shooters that already failed. Presentations that felt like they were titled “Is This Anything?”

And through it all, the elephant in the room—mass layoffs, studio closures, and the general instability of game development—was politely ignored. Which, sure, it’s a trade show. But pretending everything’s fine doesn’t make it true. It just makes the whole thing feel like a birthday party held at a funeral. You smile, you nod, you send heart emojis—but you’re not really feeling heart emoji energy.

Clair Obscur’s Music Was Beautiful—and Depressing

One of the most memorable moments was the live performance of music from Clair Obscur: Expedition 33. It was haunting, gorgeous, and deeply sad. Which kind of sums up the whole event.

It’s like making a romantic playlist and realizing the highlight is the theme from Requiem for a Dream. Incredible music, no doubt. But maybe not the emotional tone you want for a celebration. It felt like the devs were saying, “We know things are bleak. Here’s a beautiful soundtrack to cry to.”

Games Are Getting Pricier—And Less Certain

Between the Switch 2’s rumored price hike, PS5’s expanding lineup, and Xbox’s handheld whispers, the future of gaming looks expensive. And uncertain.

Studios are reshuffling. Staff are being let go. And consumers are being asked to pay more for less, faster. It’s hard to get excited about a new trailer when you’re wondering if the devs behind it will still have jobs by the time it ships.

Even the most promising titles come with a side of anxiety. Will it launch on time? Will it launch at all? Will it be buried under a wave of layoffs and restructuring before it ever sees the light of day?

Gamescom 2025: A Beautiful Mess

There’s still plenty to be excited about. Great games are coming. Talented people are still making magic. But this year’s Gamescom felt like a reminder that the industry is hurting—and trying very hard not to show it.

It’s not about the trailers. It’s not about the releases. It’s about the vibe. And right now, that vibe is anxious, exhausted, and quietly hoping things don’t get worse.

Here’s hoping next year brings more joy, fewer layoffs, and a little less existential dread. But for now? I’ll take Matt Berry as Bane, a haunting Clair Obscur soundtrack, and a few good trailers—and call it a win.