Vision
Who We Are, and Why a Venture Studio
AIMED is a uniquely structured organization that carries the DNA of both founders and investors. As founders,
we have repeatedly gone through the difficult process of building products and businesses from the ground up.
As investors, we have observed from close range the decisions that separate growth from failure across
countless companies. We have personally experienced, from both sides of the table, what kinds of judgments
cause a business to collapse and what kinds of choices allow it to survive and ultimately produce outsized
results.
Through this journey, one conviction took root: there are parts of entrepreneurship that cannot be learned
without lived experience. Advice from investors, mentoring, and education all have limits. There are simply
too many things you can only understand by running into them yourself. Business is inherently a sequence of
uncertain situations, and many founders suffer pain they did not need to suffer because they are forced to
make direction-setting and decision-making calls in circumstances they have never faced before. Many companies
fail in that process. It is often dismissed as the fate founders must bear, but I believe there are clearly
areas where this uncertainty and trial-and-error can be meaningfully reduced. The traditional startup and
venture capital structure offers no answer, but I believe the venture studio structure can.
Only founders who have gone through every kind of battle can offer genuinely meaningful help to other
founders, and even then the support that comes from intermittent advice or from investors with different
incentives has clear limits. The venture studio breaks through those limits. Executives who have directly
experienced both founding and investing reduce trial-and-error in areas that are difficult to navigate without
experience, such as vision design, business direction, and decision-making, while domain experts bring a level
of capability that an early-stage startup could rarely hire from day one. Capabilities that a typical startup
would need years of trial-and-error to acquire are built into the structure from the beginning. In this model,
each person's expertise is not just task execution. It carries enough depth and influence to tangibly affect
the success or failure of a business. Proving that is part of what we are here to do.
This structure also carries another layer of meaning. The traditional VC and startup ecosystem assumes the
existence of a founder who is willing to bet their whole life. But there are many people with exceptional
ability, meaningful experience, and the will to work intensely, even with founder-level conviction, who still
cannot take on every practical risk in full. That does not make them any less capable than founder-type
talent. A venture studio is a structure in which such people can immerse themselves, take ownership, and prove
their capabilities without having to put their entire lives on the line. Because we are both investors and
founders, we are able to experiment with and prove a structure that can simply build companies better. That is
what AIMED does. From that conviction, I found myself facing a more fundamental question.
"Then what is it that we are truly pursuing within this structure?" To answer that, I had to first revisit
the experience I hated most.
The Work I Hated Most, and What TGV Taught Me
I am a workaholic to the point that I call work my favorite hobby. I enjoy almost any kind of work. But there
was one kind of work I truly dreaded: the work I did at True Global Ventures (TGV), an investment firm I
co-founded and helped operate.
It had one of the strongest incentive structures in the industry. Even so, I felt absolutely no desire to
build the company together. I did not even feel motivated to work merely for my own share. I could not relate
to the vision. There was no direction that resonated or excited me. I could voice opinions about where the
company should go, but nothing changed. Decisions relied less on logic than on past experience and prior
success. I could not work with ownership. Goals came top-down, and even the tasks I had to do each day were
prescribed through severe micromanagement. I had no confidence those tasks would meaningfully drive results,
but because reason no longer mattered, I ended up doing them out of obligation. I constantly wondered why I
was being used so poorly. There was no respect. Meetings were filled with yelling, insults, and ridicule.
Dissenting opinions were dismissed as "silly opinions," and because persuasion was impossible, everyone
eventually became tired and just let things happen. Important information was not properly shared, and major
decisions were made unilaterally, with others simply expected to comply.
Yet there was one experience I remember clearly. I once worked directly with a portfolio company to help it
survive, thinking through business direction together and even contributing to planning and development. Even
when I generated investment returns worth hundreds of billions of won, I did not feel much meaning. But in
that work, where no economic upside came back to me directly, I felt the strongest sense of purpose and
motivation.
That was when I realized something important. No matter how large the reward, if there is no ownership, no
connection to the vision, and no respect, work becomes draining, time feels wasted, and life itself begins to
feel squandered. By contrast, when you can shape your own work with agency, immersion and enjoyment come
naturally. That experience became the starting point of AIMED's core values, especially Ownership and
Unwavering Resolve.
"I want a goal that makes my heart race. I want daily work to feel fun, and the process of moving toward that
goal to be a source of happiness. Not just once in a while, but every day. I want to build a company and
culture where that is possible." That was the thought I came away with.
Is Work Time That Drains Your Life?
After the TGV experience, I found myself asking a more fundamental question. If you spend more than half of
every waking day working, and that time feels draining, does that not make your entire life unhappy? To be
honest, work was not always enjoyable for me either. As the company grew, more difficult problems piled up,
the enjoyable work decreased, and the things I disliked came to dominate everyday life. I felt myself losing
not only my enjoyment of work but also the passion and focus that had once been my greatest strength. My
day-to-day life became unhappy.
Then I experienced a turning point. I realized that even the work I disliked could become enjoyable depending
on how I approached it. When I found meaning in what I was doing, the very things I had hated, town halls,
managing people, giving feedback, became things I wanted to do and even enjoyed. From then on, I began
thinking deliberately about the value and meaning of my work so that daily work itself could become enjoyable,
for the sake of my own happiness. My reason for working expanded from fun, achievement, and the desire for
recognition into something much larger: the happiness of my everyday life and my life as a whole.
"If everyone in this company, myself included, could have their daily lives filled and enriched by the joy of
work, what could be more worthwhile than that?" That thought became the emotional source of AIMED's belief.
How I Came to Love the Act of Building Itself
Many founders say entrepreneurship is a means to fulfill a mission. For me, it became something different. At
some point I came to love the act of entrepreneurship itself, so much that building became an end in itself.
Discovering new opportunities, conceiving ideas, building and executing them, testing hypotheses and finding
answers, producing results, developing my own philosophy and insight about the craft, seeing that evolve into
a vision, gathering people who want to run toward that vision with me, and building an ecosystem around it.
Every step of that journey felt beautiful to me.
In the same sense, investing in new companies founded by other entrepreneurs and helping them unfold their
own dreams felt meaningful for the same reason. There was joy and purpose simply in participating in the
creation of a new industry and a new ecosystem. That is why the idea of making entrepreneurship into a
repeatable structure through the venture studio felt like a natural conclusion to me. Without such a
structure, the joy of building ends with a single company. With it, that joy can continue in sequence.
Nothing Adds More Value to the World Than Entrepreneurship
Entrepreneurship is not merely the act of starting a company. It is the creative force of venturing into
uncertainty and bringing something into existence where nothing existed before. It is one of the most
fundamental, difficult, and meaningful challenges there is: solving problems in the world and building new
ecosystems. It is painful and exhausting work, requiring capital, people, time, passion, and often one's
entire life, even then with no guarantee that the world will improve meaningfully. And yet entrepreneurship is
what drives people to take on that challenge anyway.
The venture studio structure also exists to ensure that the people who join this difficult journey can
experience the kind of growth and reward that correspond to their contribution. When AIMED speaks of
entrepreneurship, we do not mean simply becoming a CEO. We mean that everyone inside the venture studio
participates with ownership in the act of building businesses.
Why Insight Matters in the Age of AI
One thought has grown stronger in me over time: in the age of AI, the value of simple execution will keep
declining, while the value of insight-based thinking will become dramatically more important. AI will take
over many of the tasks that humans routinely do today. But deciding what problem to solve, and what the
essence of that problem really is, remains a matter of human insight.
Many people talk about the growing importance of networks, communities, brands, and IP. I see those not as
goals, but as outcomes. Our real goal is to build an organization capable of insightful thinking. Networks,
communities, brands, and IP should follow as results of that capability.
This belief led directly to Insight becoming one of our core values. I also believe insight is not innate. It
emerges only when you dig one layer deeper at the point where most people would stop. I experienced from the
opposite side what it feels like to work in an environment without ownership, shared vision, or respect. I
felt firsthand how life changes when you discover meaning in your work. As I came to love the act of building
itself, I became obsessed with making that experience repeatable. That in turn led me to reflect on the
essential values we must pursue in the age of AI.
Those experiences and reflections are distilled into the beliefs, vision, and core values below. As you read
them, I hope you keep the context above in mind. They are the result of what I and our organization have
actually lived, felt, and struggled with over many years.
Founders Narrative
The Road to Becoming an Entrepreneur
-2010
In my teens, I came across the fact that one person dies of hunger every six seconds, and that led me to care
deeply about the problem of famine. I was lucky enough to be born in Korea, but I could not shake the thought
that if I had been born into that environment, my life might have disappeared regardless of effort or will.
The fact that a relatively small amount of money could save a dying life felt even more shocking.
I began to dream of solving that problem. I could become a doctor and provide medical relief, a politician
and work on redistribution, or an entrepreneur and earn the kind of money needed to tackle it at scale. In the
end, I chose the path of the entrepreneur. I entered Seoul National University to study chemical and
biological engineering, took a leave after one semester, later dropped out, and founded AIMED, then called
Gameberry, at the age of twenty.
I donated, and even created and ran volunteer organizations myself, but I believed that if the problem could
be solved simply with money, Bill Gates would have solved it already. What was needed was innovation that went
beyond donation. Just as businesses solve problems in their industries, I believed humanity's fundamental
problems must also be challenged with outstanding capability, substantial capital, and creative methodology.
So I set a target number, decided to grow the company with everything I had until I reached it, and then
devote myself to work I truly believed was valuable. Because that was my reason for founding the company, I
always found it difficult to answer when people asked for our vision.
I had loved games from a young age, and with no real social experience when I started a company at twenty, it
was natural that I began with game development.
Struggling as an Entrepreneur
2011-2017
We started with mobile game development, but failed before we could even launch. As I moved through various
jobs to survive, I kept thinking about the need for marketing I had felt during the launch process, and about
the shift I believed the newly opened smartphone market of 2010 would create in global content distribution.
That led me to start an overseas mobile marketing agency. Traditional online marketing agencies were already
large at the time, but mobile marketing barely existed as a concept. We were almost the only team in Korea
saying we would do global mobile marketing, demand concentrated around us, and from the very year we pivoted
we began generating revenue and operating profit.
But after about a year, it no longer felt like we were creating real value. It felt as if we were temporarily
providing expertise by relying on an information asymmetry that would soon disappear, and that over time the
business would become closer to labor supply than value creation. At its core the business was sales. As a
twenty-year-old with no network, in a market where online agencies would inevitably move into mobile, it was
neither something I would be great at over the long term nor what I had wanted to do in the first place. I
concluded that if I wanted to create bigger value, I needed to build my own products.
At the time, there was a strong assumption that startups had to raise VC money. But I was not persuaded by
the model of burning cash to inflate valuation. I decided to see how far we could grow the company without
external funding, which meant keeping the cash-generating agency business alive while building products in
parallel. For seven years, I repeated the same life: earning money from agency work during the day, building
products at night, launching roughly one product a year and failing. As that continued, agency revenue, which
I had neglected, began to decline and the company's cash balance started heading toward zero.
That was when I finally realized: if I was going to build products, I should do it in advertising, the field
where I had domain knowledge and practical experience. The ad-tech solution we launched in 2017 became the
first product to achieve meaningful success. Within a year it reached KRW 10 billion in annual revenue with a
20% operating margin. Cumulatively, it produced KRW 37 billion in revenue and KRW 17 billion in operating
profit, and that year I was named to Forbes 30 Under 30 Asia.
At the same time, I felt that if we wanted to grow much larger, we needed stronger talent, and that from the
perspective of top talent our company was seen not as a startup but as a small business. I believed the places
they wanted to join were venture-backed startups that had raised large rounds from well-known VCs. So, for
employer branding, I decided to take VC money for the first time and raised KRW 6 billion from major venture
firms. But because we had raised when we did not actually need capital, I felt even more clearly that both our
business and our company were a poor fit for the kind of model that grows through VC funding. In the end,
after asking for understanding, I repaid the investment in full.
After operating for about another year, I analyzed our global competitors and realized that companies I had
assumed would be far bigger than us were only a few times larger, or at most ten to twenty times larger. The
market itself had a ceiling. Only then did I truly understand why VCs care so much about market size. After
seven hard years, the project had finally begun to work, but I had a larger ambition, so I made a bold
decision to pivot. In 2010 I had been right in the middle of the mobile paradigm shift, but I lacked the
capability and experience to seize it. Still, I watched the companies that did seize it grow to a level
latecomers could no longer challenge. Even while running a small agency and failing with product after product
every year, I had kept one conviction deep inside: paradigm shifts come about once every ten years, and next
time I would be ready.
If I was going to pivot, I wanted to do it in an industry undergoing that kind of shift. Among the candidates
I considered - AI, IoT, VR, and blockchain - I chose blockchain. At first I tried building Web3 products
directly, but I concluded that the infrastructure for application businesses was not ready yet. Unless we were
going to run an exchange or a mainnet, investing felt like the only real option. After the 2017 bull market,
2018 became an extreme bear market. Web3 startup valuations collapsed and almost no one was investing. I
believed that if you want exceptional outcomes, you have to act when everyone else turns away. So rather than
trade, I decided to begin venture investing with a longer time horizon. Because no one was investing, even
small amounts of capital were enough to enter the market as a venture investor.
Growth as an Investor
2018-2025
My path as an investor began almost unintentionally. I bet my life on personal capital. An investment stake
that began in the tens of millions of won turned into returns worth hundreds of times that amount at the peak
just two years later. If the first seven years had been the life of an entrepreneur, the next seven were
almost entirely the life of an investor. I invested a cumulative KRW 280 billion of personal capital into
roughly eighty companies in Korea and abroad. One small startup in Argentina that I backed early became the
leading unicorn of the metaverse theme; I continued supporting every round and invested KRW 50 billion into
it. A company that began with a valuation around KRW 10 billion became one of the defining companies in its
category, at over KRW 1 trillion in value. I also invested in a small Australian game company that had been
delisted, supported follow-on rounds aggressively, and watched it become one of the leading global Web3
companies at a valuation of around KRW 8 trillion. I was also the first, and at the time the only, investor
backing a major Korean game company that went on to pioneer P2E, standing with it through its difficult
beginning.
Because I was both a proprietary-capital investor and an entrepreneur, I was able to see potential in
companies no one else was paying attention to. Acting according to the philosophy of Start Where Others Stop,
making decisions when others would not, produced unusual results. Being a proprietary-capital investor also
allowed me to try a number of unconventional and distinctive approaches. One example was building an
investment alliance with major game companies across different countries. We gathered the top three game
companies in each market, screened dozens of game and Web3 startups each month at Blocore, selected the single
strongest company, and had the investment teams of ten major game companies join one video call at the same
time to hear the pitch. There was no common fund; each company decided independently whether to invest. The
participants included Krafton, Nexon, NCSOFT, and Netmarble in Korea; Sega, Konami, Bandai Namco, and SNK in
Japan; Lilith Games in China; and 2K, part of Take-Two, in the United States.
The goal was not immediate financial gain. It was to build a reputation as a global force in game investing
by repeatedly co-investing with the leading game companies in each country. I also believed the strategic
synergy created when a major game company came in as a shareholder would improve investment outcomes. Managing
funds as an investment firm was also unusual. True Global Ventures, the Singapore-based venture capital firm I
co-founded in 2018, began with the goal of building a genuinely global fund from day one. It was run by serial
entrepreneurs and investors of different nationalities, spread across countries and operating remotely. The
initial plan was to raise private capital from global family offices rather than public institutions, but at
first we failed. In the end, the founders pooled their own money to get it started.
That fund produced record-level results, and on the back of that track record we were able to raise a
follow-on fund. The ten-year fund we launched in 2021 distributed substantial returns back to LPs within just
two years, putting it in the top 3% globally among venture funds by both TVPI and DPI. The fund manages
roughly KRW 380 billion, and more than 40% of the capital was committed directly by the co-founders, an
unconventional structure meant to signal both responsibility and conviction. It is one of the highest
GP-commitment venture funds in the world. I succeeded both as an individual investor and as a fund manager.
But I did not enjoy the work. The essence of succeeding in fund management was not investing well, but
fundraising well, and I had neither the passion nor the aptitude for that. I felt clearly that this was not a
field in which I could become the best in the world. The pure work of finding startups, investing in them, and
helping them was enjoyable and suited me. Yet the pleasure of being right in my investment judgment, or of
making a great deal of money, never satisfied me as much as the envy and longing I felt when I wished AIMED,
which I was still running in parallel, could grow like the companies I had backed. In the end, what I wanted
was not success as an investor, but success as an entrepreneur. I wanted products and services I had built to
be used by many people. That was what I truly longed for. This was what pushed me toward the venture studio
model, but it also became the starting point of an overly hasty expansion.
Trial and Error as a Venture Studio
2021-2025
After my investment success gave me significant capital, I converted the existing ad-tech company into a
venture studio because I wanted to grow AIMED into something much bigger. I injected personal capital into the
company, expanded the organization, and added new business units.
Outstanding people from Google, Naver, Kakao, Nexon, Krafton, Coupang, EA, and other leading companies joined
in large numbers, and in a short time we scaled to an organization of more than two hundred people. A company
that had once been profitable turned into one burning roughly KRW 2 billion a month. Expansion into industries
where we had no expertise, star-level C-suite hires made without enough thought about role design. Looking
back, the expansion came not from a clear vision of the venture studio model or deep reflection on industry
and business, but from simple ambition to make the numbers bigger. Along the way, the company lost many of the
strengths that had once made it special and began to lose direction.
When capital was abundant, our thinking did not reach the essence. We focused more on what to do and what
numbers to hit than on why. It is not that there were no results at all. Some of the businesses raised money
from global investors such as Supercell, Pantera Capital, and Griffin Gaming, and some generated hundreds of
millions of dollars in profit. But instead of making qualitative decisions grounded in meaning and vision, we
chased larger quantitative outcomes.
Only after liquidity problems emerged did we begin asking fundamental questions. How did our company end up
like this? Why am I doing this work? During this period, multiple business units that had absorbed billions of
won of our own capital had to be shut down. It was painful trial and error, but it led to equally deep
realization. The time that followed was a process of putting down my ego, returning to the beginning, and
starting again not as an investor but as an entrepreneur. It was a period in which I rediscovered my genuine
commitment to building a great company without giving up, and in which I thought deeply about why I do
business, what kind of person I am, and what kind of leader I need to become.
That led me to more fundamental questions. Is the parent company nothing more than a functional organization?
What contribution can it truly make? Is the governance sustainable? Is the structure itself fighting against
human nature, both in fundraising terms and in terms of the incentives of subsidiary CEOs? Is there a reason
venture studios, unlike VC firms or accelerators, have never truly industrialized, because they are that
difficult, or structurally close to impossible? What would actually have to be different for the venture
studio model to work, and could we be different?
And then the most fundamental question of all: beyond launching multiple businesses simply to produce
outcomes, did we have our own reason for existence and our own vision for the venture studio business itself?
The First Year of Venture Studio Growth
2026
After sixteen years, I finally found the vision. It had been a long struggle. Are we an investment company, a
game company, an advertising company? What kind of company are we, really, when we operate so many businesses?
It felt like we should have a vision, but what was ours? Could a target aimed simply at producing larger
numbers really count as a vision?
Looking back, there were things I genuinely enjoyed and loved even while I was chasing results and scale.
There was a reason I never gave up on this company despite repeated severe crises. Only after revisiting what
AIMED truly meant to me did I understand it. It had always been there, obscured by my greed for numbers, and
now it had begun to come into view.
In retrospect, AIMED was never a company that fit the VC growth model. I had taken investment once and even
returned it in full after deciding it did not fit. I had also spent more than seven years making venture
investments myself, so I know the structure and limitations of VC better than most. There are clearly
businesses in the world that VC cannot back, or can only back with great difficulty, yet are still immensely
valuable. Businesses that must be grown at a different pace, in a different way. Businesses that must be
judged by a different standard and supported through a different kind of endurance. Businesses that do not
need capital merely to lift valuation, but a structure that can grow the vision, the organization, and the
management team - one that invests not only in the outcome but in the growth process itself.
The businesses AIMED is building today are exactly that kind of business. Whether it is investing more than
KRW 10 billion of our own capital into SLG R&D in a genre no one in Korea had dared to challenge, or
enduring losses while building teams to break the vicious cycle of the advertising agency business, these are
only possible because AIMED exists. The fact that VC cannot invest in these businesses does not mean they
cannot succeed. It means they are the kind of businesses that can only come into being through a vision,
faith, and conviction that go beyond reason and logic, and that need support until they bloom. And I believe
the results will be remarkable in ways that are not visible in businesses that follow the standard investment
track built on ordinary rationality alone, both quantitatively and qualitatively.
Building, nurturing, and proving businesses that would struggle to bloom without us: that is what AIMED does.
I still hope for success, of course. But I have found something even more important to me, something I want to
pursue. Even if I fail, I will not regret it, because the pursuit itself already carries more than enough
meaning.
Thesis | Game
What Kind of Fun Do We Want to Build?
Because fun is an abstract concept, I came to believe that saying, "We want to make a fun game," is
almost the same as having no direction at all. We needed our own definition of what kind of fun we wanted to
create. The fun people feel from passive content such as films, comics, and YouTube is fundamentally different
from the fun they feel from active content such as games. Passive content is consumed from a seat. What
matters there is concept, story, and visual execution, and no real sense of need is created in the act of
consuming it.
Games are different. They are active content, and in the process they must generate need, want, and demand.
Of course, games can also deliver strong experiences and emotions through excellent concept, story, and
visuals.
But those are the same kinds of emotions that passive media can deliver more conveniently, and it is
difficult to beat Netflix or short-form video when they are designed from the ground up to target exactly
that. What makes games fundamentally different from passive content is their ability to continuously stimulate
need, want, and demand through active play. That is the core of games, and the essence that determines how
long a game can live.
If a game fails to create that feeling, users lose their reason to play an active medium at all. That is true
not only from a monetization perspective, but from the perspective of survival as content. Passive content can
focus purely on the product itself. Active content must focus on designing situations that generate need,
want, and demand.
It is similar to the famous "sell me this pen" scene from The Wolf of Wall Street. If you want to
sell a pen, which is not an always-essential product, should you focus on making a better pen, or on creating
a situation in which a pen becomes necessary?
Games are services with no inherent utility, which means those situations must be intentionally designed.
Even the experiences and emotions we want to deliver through concept, story, and visuals should exist in
service of that situation design. This becomes an even higher priority for teams making games with small
headcount. Delivering a competitive experience through concept, story, and visuals usually requires a large
team. Designing situations does not.
Value That Only Games Can Deliver
Beyond food, clothing, and shelter, every human being carries a desire for achievement and recognition. But
the real world is not designed in a way that allows everyone to receive enough recognition. Only a minority
gain admission to the universities society esteems after years of education. The same is true in work. People
can only go on living by satisfying their need for achievement and recognition in one form or another, and I
do not believe that those needs must always be met only through socially prescribed standards.
Games are virtually the only medium that can offer a meaningful level of fulfillment for those desires to
anyone. I believe this is the positive value only games can provide. If all you want is to kill time, relieve
boredom, or feel entertained, Netflix and YouTube are sufficient alternatives. What fundamentally separates
games from them is the experience of achievement and recognition through active play. In real life, gaining
achievement and recognition usually requires years of time and cost. A student may study for years to enter a
desired university, and the recognition and fulfillment from that are real, but they do not last long, nor are
they enjoyed by everyone who takes part in the process.
In games, by contrast, even tens of minutes of play can make people feel achievement, progress, and
recognition within a social structure such as a guild. I believe the level of emotional fulfillment that comes
from those experiences reaches roughly 70-80% of what people feel in real life, yet it can be achieved by
anyone with far less time and far less cost. Of course, becoming excessively absorbed in games at the expense
of real life can be a problem, but that is not unique to games. Any pursuit becomes unhealthy when taken too
far. Used well, games are one of the most effective tools for satisfying the higher-order needs human beings
must fulfill in order to live well.
The Role of Games in the Age of AI
A future in which AI replaces human jobs is not far away. When I think about what people will do with their
lives in that era, I suspect the more serious question may not be how they will survive, especially if
explosive productivity gains and policies such as basic income soften that problem, but how they will continue
to fulfill their higher-order needs.
For a long time, higher-order needs beyond food, clothing, and shelter - achievement, recognition,
self-actualization - have been fulfilled mostly through work. If work is no longer available as the primary
vehicle, how will people meet those needs?
I believe the strongest and most proven tool for that is games. They will evolve into many forms, including
the kinds of games humanity already enjoys today, but the core will remain the same: designing situations in a
virtual world that generate need, want, and demand, and creating an experience in which people actively
resolve them through their own actions. That is the essence of games as we see them, and why we believe their
role will become far more important in the age of AI.
Gameberry Studio
Gameberry is a studio made up of small development teams that can autonomously build the games they want to
make. At large game companies, very few people besides a handful of directors get to build the games they
personally want to make. But founding your own game company is far more uncertain than ordinary
entrepreneurship.
Gameberry begins exactly there. It offers an environment where people can freely build the games they want
without taking founder-level risk, while still receiving a reward structure designed to resemble
entrepreneurship through profit-sharing tied to the outcomes they create. At the AIMED level, teams can also
leverage top-tier UA capability and marketing capital built up over many years, and benefit from shared
know-how across teams, making it a far better environment for success than going it alone.
Gameberry Studio has focused on satisfying the emotions of achievement and growth among the many feelings
games can create. We have built growth and idle RPGs because we believe they deliver the kind of fun we pursue
efficiently, but we do not think we must be confined to that genre forever. The core fun we want to build is
the fun of growth. We are steadily accumulating know-how in systems, balance, and monetization to satisfy
users' desire to grow.
An environment where people can autonomously build the games they want, and a structure in which the results
are fully recognized: that is the studio Gameberry wants to build.
SLG Studio (CIC)
What does it take to build a major game company? Not just a company that ships one or two good games, but one
that can stand in the lineage of Nexon, NCSOFT, Netmarble, and Krafton.
That question led us to ask which genre we could become the best in the world at. We believed we needed to go
after a genre others had not already conquered, one that others would find difficult to challenge. In the
Korean mobile market, MMORPGs had dominated the focus of most companies for well over a decade. As demand for
MMORPGs began to soften, we saw not the disappearance of players, but an opening for a new genre to absorb
that demand.
We believe SLG is the strongest candidate to absorb that demand. MMORPGs and SLGs pursue fundamentally
similar forms of fun in that growth and competition between users sit at the center of the experience, and
there is already a substantial overlap in the audiences that enjoy both genres. Chinese-made SLGs have already
begun occupying the top-grossing positions in Korea, and the genre supports years of long-term live service
because of its very high LTV. The demand has been proven, but domestic supply is almost nonexistent.
SLG is a genre with extremely high barriers to entry. It requires dozens of people, years of work, and
development budgets ranging from billions of won to well over KRW 10 billion. Yet in the Korean games
industry, there are very few developers with real SLG production experience. To build know-how in a new genre
and reach meaningful results, you have to be prepared for repeated failures and to cultivate talent over a
long period of time. Large game companies may have the capital, but when their key talent is already tied up
operating live services in existing core genres, it is difficult for them to make a bet this serious on an
entirely new one. Most attempts have taken the form of temporary project teams that were abandoned after
failing to produce results. Small studios cannot realistically even attempt it because of capital constraints,
and in the investment market it is rare to see this scale of funding committed to a new genre without a proven
track record. Even after launch, SLGs require genre-specific live-ops know-how, and because user acquisition
costs are high, success demands a UA capability that exceeds what most domestic game company marketing teams
or agencies can deliver.
That is why we believed there was effectively no company in Korea other than AIMED that could carry out this
challenge. And in 2022, before anyone had entered the space in earnest, we began.
Over the past four years, we have invested roughly KRW 14 billion in development entirely with our own
capital and endured extensive trial and error. We see this not as a cost, but as R&D investment made to
accumulate know-how that latecomers will not be able to catch up with. On top of that, AIMED possesses
top-tier UA capability built from years of running digital advertising for global game companies and directly
operating ad solutions that handle traffic on a massive scale. Capital, resolve, and UA capability are the
three factors that decide the fate of an SLG. We believe we are the only game company in Korea that possesses
all three at once.
Our goal is not simply to become a game company that makes a lot of money. Our goal is to build a major game
company.
Of course, the first attempt may fail. Even so, our SLG challenge will succeed in the end, because we will
continue until it does.
Puzzle Studio (CIC)
Casual games are one of the largest game categories in the world. Yet Korea still has virtually no casual
studio that is genuinely recognized on a global level.
When people say casual, they often think of match-3. But in reality, casual is not a single genre. It is
fragmented into countless subgenres, block puzzles, jigsaws, liquid sort, card sort, merge, word puzzles, and
many more that are barely named at all. Yet most casual developers do not go deep into a single subgenre.
Instead, they follow trends and keep making different kinds of games one after another. It is a structure in
which the know-how accumulated in one game is difficult to transfer cleanly into the next.
We saw an opportunity there. If we go deep into one subgenre and continue compounding our know-how in
balance, systems, and monetization with each game, we believe we can grow into a casual game company that
truly competes on the global stage.
Match-3 is already an extremely saturated market, and hyper-casual by its nature does not lend itself well to
accumulated know-how. The genre we chose is sort puzzle. It is proven commercially without being overly
saturated, it is well suited to carrying balance and systems know-how from one title to the next, and it does
not require Western-style high-end art, which makes it a genre Korean talent can realistically challenge. Most
importantly, the core mechanic of sorting something is inherently open to many themes and rule variations,
which means it can create completely different gameplay experiences within the same genre while still carrying
over the core systems and monetization know-how.
Separate from genre selection, we have another strategic axis as well. It is to build differentiation not
only through the puzzle itself, but through the systems around the puzzle. Our goal is to optimize the
competitive systems and monetization design capability AIMED has built in mid-core and hardcore genres for a
casual audience, and in doing so maximize casual users' LTV.
The production model pursued by Puzzle Studio is an experiment in a different direction from Gameberry
Studio. Rather than relying on individual creativity in a highly autonomous structure, we maximize reusability
across code, game design, assets, systems, and monetization, and share accumulated know-how across the entire
company.
Everything invested into one game should be reusable in the next. We are building a structure in which
expertise compounds with every title. This production model naturally leads to automation and AI adoption. By
automating repetitive work such as content generation, balance testing, and asset production, and by using AI
at a high level, we aim to build a studio system with exceptional productivity.
Creators are free to imagine any concept or idea they want, but they operate under three principles.
First, we become masters of sort puzzle. Within that single subgenre, we accumulate world-class understanding
of balance, level design, and user experience. Rather than moving broadly across genres, we go deep into one
until we build expertise no competitor can easily follow.
Second, we maximize casual users' LTV through innovative out-of-game systems. Reward structures, competition,
and monetization, these are where we create differentiation outside the puzzle itself. Our aim is to produce
payment metrics far stronger than competing titles in similar genres and, through that, enable a much more
aggressive growth structure.
Third, we pursue a repeatable production model. Across code, game design, assets, systems know-how, and
monetization, we maximize reusability and share what we learn across the company. The more games we build, the
more expertise compounds.
Rather than chasing trends and hopping from genre to genre, Puzzle Studio aims to become a casual studio that
builds world-class know-how within a single subgenre.
Blocore
Blocore is a brand that began with the AIMED founder's personal venture investing activities.
As we invested in Web3 startups and helped the companies we had backed, experience and a global network
infrastructure accumulated over time. As collaboration requests continued to come in from companies that
needed help commercializing Web3 businesses, we carried the Blocore brand forward as investors and established
a Singapore subsidiary under AIMED with the same name, launching a Web3-specialized venture studio business.
We invested aggressively as investors because we wanted to see the "Why Blockchain" thesis we
believe in become reality. But although many companies have succeeded financially, we still feel we have not
yet seen that thesis fully realized in its truest sense.
As the market grew disappointed with projects that failed to produce durable business models, investor
sentiment weakened, it became harder to find startups willing to challenge the Web3 space, and much of the
talent base began moving toward AI instead.
We produced results as investors by following the principle of "Start Where Others Stop," investing
when others would not. Now we are extending that philosophy beyond investing into the challenge of realizing
it directly as builders.
We are creating projects independently in payment, AI agent, and RWA, while also building projects together
with companies that possess assets well suited to Web3 transformation.
Building business models that actually work, so that customers whose interests are aligned through tokens can
drive the business and create a moat, and in doing so proving why Web3 businesses should exist at all: that is
the kind of Web3 venture studio Blocore aims to be.
Newplay
Newplay is a web store solution purpose-built for mobile games. It helps game companies reduce app-store fee
burden while giving players a simpler and more rewarding purchasing experience.
As external payment routes have opened up after the EU DMA, the industry is moving toward a hybrid model that
combines in-app payments with web stores. A web store is no longer a side channel built to bypass regulation.
It is becoming one of the most rational ways to optimize revenue within the rules of the platform ecosystem.
But the real problem Newplay is trying to solve is not simply providing a web store. The essence of the web
store business lies in conversion. Newplay focuses on designing a smooth path from gameplay to web store visit
to purchase, so that traffic turns into real revenue. Its key strengths are industry-low fees, an average web
store revenue conversion rate above 40%, and a low barrier to adoption.
Newplay does not want to be just a tool vendor. It aims to become a partner that helps design and operate
each game's revenue-conversion structure. Based on a game's BM structure, player characteristics, and
live-event cadence, it works on product configuration, promotion strategy, onboarding, launch, performance
improvement, and repeatable rollout.
The shift toward web stores has already begun, and the market is entering the phase where it will identify
its standard players. At this point, the real competition is about who can build references faster and prove
results more clearly. By solving the web store's core problem of conversion, Newplay aims to become the new
growth standard for game companies.
Martinee
The future will bring increasing automation to work that people once handled directly, and companies will
adopt more and more external solutions built for that automation. But there is a wide gap between adopting a
solution and using it well. It is difficult to master every feature, and without accumulated experience or
proven use cases, it is rarely easy to apply those tools in a way that fully fits each company's situation.
Martinee exists to close that gap. With a deep understanding of these solutions, we identify each client's
specific needs, build the right setup for them, and help them use the tools properly so productivity can be
maximized. We believe this is the kind of work Martinee can do better than either the solution provider or the
client alone.
Martinee is an official reseller of global martech solutions such as Braze, Amplitude, and Appsflyer, and has
a level of expertise that can support both implementation and practical utilization at the same time. Leading
companies across industries - including Starbucks, Naver, Upbit, Musinsa, Krafton, Shinsegae, LG, SK Telecom,
Woowa Brothers, Kakao Webtoon, Melon, Shinhan Bank, IBK, Burger King, KFC, Socar, Ohouse, and LotteON - choose
Martinee as a partner. What we do is not simply sell software; we build capabilities that can be internalized
by the client organization.
Traditional consulting and agency work led by people is one-off and heavily dependent on the capabilities of
individual consultants, which makes it difficult for those capabilities to remain inside the client company.
Martinee's solution implementation and utilization consulting, by contrast, is about building capabilities
that stay with the client. That role was necessary in the SaaS era, and it will remain just as necessary in
the AI agent era.
Designing how companies work in the age of automation: that is Martinee's vision.