When GOG confirmed that it had been acquired by one of its original co‑founders, Michał Kiciński, the announcement landed with a quiet but unmistakable sense of déjà vu. In an industry defined by consolidation, subscription ecosystems, and increasingly restrictive digital rights management, the idea of a platform returning to the stewardship of its founding visionary feels almost radical. Yet that is precisely what has happened: Kiciński, who helped build both CD Projekt and GOG from the ground up, has purchased 100% of GOG’s shares from CD Projekt, making him the platform’s sole owner.
The move is not a corporate rescue mission, nor a sign of internal turmoil. CD Projekt emphasized that GOG has been operating independently for years and remains profitable on its own terms. Instead, this acquisition marks a philosophical realignment—one that reconnects GOG with the ideals that defined it in 2008, when it launched as “Good Old Games,” a storefront built on a deceptively simple promise: games should belong to the people who buy them.
A Platform Born From Rebellion
To understand the significance of this transition, it helps to revisit GOG’s origins. In the mid‑2000s, digital distribution was still in its adolescence. Steam was rapidly becoming the dominant PC storefront, but DRM—digital rights management—was tightening its grip on the industry. Publishers embraced it as a safeguard against piracy; players saw it as a barrier between them and the games they loved.
Kiciński and Marcin Iwiński, then leading CD Projekt, recognized a gap in the market and a cultural moment waiting to be seized. They envisioned a platform that would revive classic PC titles, restore them for modern systems, and sell them without DRM restrictions. It was a counter‑cultural stance, one that challenged the prevailing assumption that consumers could not be trusted with their own purchases.
That ethos—freedom, ownership, and preservation—became the backbone of GOG’s identity. Over time, the platform expanded beyond retro titles, offering new releases, indie gems, and eventually major AAA games, all while refusing to compromise on its DRM‑free philosophy. Even as CD Projekt Red grew into a global powerhouse with The Witcher and Cyberpunk 2077, GOG remained the company’s quieter, more principled sibling.
Why the Buyout Happened Now
According to CD Projekt’s leadership, the timing of the acquisition reflects a strategic shift: the company wants to focus entirely on its ambitious development roadmap and franchise expansion. GOG, while aligned in values, was no longer central to that mission.
For Kiciński, however, GOG’s mission is the mission. In statements following the acquisition, he emphasized his desire to “preserve and grow the original philosophy behind GOG”—a philosophy built on DRM‑free access, classic game preservation, and the belief that once you buy a game, it should be yours forever.
The buyout was funded through his personal assets, not by selling CD Projekt shares. That detail matters: it signals commitment, not opportunism. It also underscores that this is not a corporate reshuffling—it is a founder reclaiming a vision.
What This Means for GOG’s Future
The immediate message from GOG is continuity. The platform will remain DRM‑free. GOG Galaxy will remain optional. CD Projekt Red titles will continue to launch on the storefront despite the companies now being formally separate.
But beneath that continuity lies the potential for transformation.
Kiciński’s return could accelerate GOG’s preservation efforts, which have already expanded into a formal program dedicated to keeping classic games playable on modern systems. With full autonomy, GOG can invest more aggressively in restoring lost or neglected titles—something few major storefronts prioritize.
It also positions GOG as a counterweight to the increasingly subscription‑driven future of gaming. As publishers push toward ecosystems where access is rented rather than owned, GOG stands almost alone in defending the idea of permanent ownership. Under a founder who helped define that stance, the platform may double down on it.
There is also the possibility of renewed innovation. GOG has always been at its best when it challenges industry norms—whether by reviving abandonware‑adjacent classics, offering offline installers, or refusing to lock games behind proprietary launchers. With Kiciński at the helm, the platform may once again embrace bold, consumer‑first experiments.
A Moment of Preservation in an Industry of Ephemerality
The acquisition arrives at a time when digital preservation is under unprecedented threat. Games disappear from storefronts due to licensing issues. Online‑only titles vanish when servers shut down. Even single‑player games are increasingly tied to online checks or launcher dependencies.
GOG’s stance—that games should “live forever”—is not just branding. It is a philosophical counterpoint to an industry that often treats games as disposable products rather than cultural artifacts. With Kiciński’s renewed leadership, that stance may become even more central to the platform’s identity.
If GOG succeeds, it could influence the broader industry by proving that preservation and profitability are not mutually exclusive. If it fails, the DRM‑free movement risks losing its most prominent champion.
A Return to Purpose
In many ways, this acquisition is less a business transaction and more a homecoming. GOG is returning to the hands of someone who helped shape its identity, someone who believes deeply in its mission, and someone who sees value not just in selling games, but in preserving them.
For players who care about ownership, history, and the long‑term survival of gaming culture, this moment is more than symbolic. It is a reminder that even in a landscape dominated by corporate consolidation, there is still room for platforms built on principle.
And perhaps, under Kiciński’s renewed guidance, GOG can once again become the industry’s conscience—quiet, stubborn, and unwavering in its belief that games should belong to the people who love them.
