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About Supercell

Supercell is a Finnish independent video game developer. The company focuses on online MMOs and social games. Based in Helsinki, Finland, with North American operations in San Francisco, Supercell was formed by games industry veterans who have collectively developed more than 165 games across 12 platforms.

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Itaamerenkatu 11-13

Helsinki, FI-00180,


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We define eSports as competitive gaming facilitated by electronic systems, in particular video games played on computers or consoles by professional gamers (though many do it as a hobby or pastime).

Supercell Patents

Supercell has filed 40 patents.

The 3 most popular patent topics include:

  • Graphical user interface elements
  • GPS navigation devices
  • User interfaces
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Graphical user interface elements, Personal computers, GPS navigation devices, Classes of computers, User interfaces


Application Date


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Related Topics

Graphical user interface elements, Personal computers, GPS navigation devices, Classes of computers, User interfaces



Latest Supercell News

Mobile Game of the Week: Poinpy

Aug 12, 2022

IP-POWER Aug 8th, 2022 IP-POWER Aug 8th, 2022 Total Active App (currently available for download): 4,815,584 Total Inactive Apps (no longer available for download): 213,765 Total Apps Seen in US App Store: 5,029,349 Number of Active Publishers in the US App Store: 1,398,651 Easy-to-play mobile game in a colourful and soothing world August 12th 2022, 17:00 BST     You can consider it 'biz-sumer' or 'consum-ness', if you like. What that means in practice is that we write about the business of mobile games from the point of view of passion for mobile games. We're not dry number crunchers (quite moist, actually). Neither are we clueless fans, who write articles from the seat of the pants, heart on sleeve etc... Best of both In our view, the best mobile games require business and pleasure in equal measure, which is why we maintain this weekly Game of the Week feature. It's where we'll highlight the titles we consider the most significant, hopefully in a positive way, but perhaps sometimes in a cautionary way too. You'll enjoy or learn something from playing these games, maybe both. Poinpy Addictive? Maybe. I found myself hooked on the adorable world of Poinpy. While playing Netflix's Poinpy, I couldn't help but feel a familiarity with the game. I have to admit it wasn't until a couple more hours of playing did it hit me. The game felt a lot like Doodle Jump. If you are a Doodle Jump fan, there's certainly some attraction for you. However, this isn't your typical tap-and-jump mobile game. The gameplay works differently in terms of how you get Poinpy to jump. Don't worry though, it's still very simple to play and easy to get used to. It's pretty clear the game makers wanted to make a fun easy-to-play game for everyone, with much less emphasis on difficulty. I did enjoy the colourful visuals and soundtrack while playing, and it is one of those games you can play on the go when you’re waiting in line or seated on a bus. Poinpy is one of those games you can close your eyes, switch off your brain, and enjoy. This can be a good or bad thing, depending on who you ask. Although, if you have children, the colourful, cute visuals and pleasing soundtrack will entice them. The only down side, I would say, is that you need a Netflix account to play the game. Netflix's new original titles have been met with mixed receptions. So, if you aren't a Netflix subscriber, I wouldn't advise you to open an account today for Poinpy. If you are, this one might be worth the download. Descenders Adrenaline junkies can have their fill of extreme downhill biking in Descenders, especially since its physics-based gameplay is complemented by procedurally generated environments. Players will have to put their skills to the test against roguelike elements in the game. The title also features a Rep system that players can aim to build, as well as high scores they can try to hit to unlock special in-game goodies. There's also a team-based mechanic where picking a side (Enemy, Arboreal or Kinetic) means you can connect with other players in the same team. This article was originally published on Danganronpa S: Ultimate Summer Camp Danganronpa is a series I’ve followed for a while, although it’s one I’d struggle to say is accessible. The basic premise (and one that doesn’t really hold a candle to how complex the storyline is) is that a group of students - each of whom has a title like Ultimate Baseball Star, Ultimate Lucky Student, Ultimate Hacker - is taken to an isolated place with varying stages of amnesia, where they’re told the only way for any one of them to escape is to murder one of their friends and get away with it. Danganronpa S: Ultimate Summer Camp is an expansion of the minigame Ultimate Talent Development Plan, and while I enjoyed it, it’s not a game I’d necessarily recommend to a newcomer. While it has the familiar art style and music - and even the voice lines from the original minigame - it does away with the familiar gameplay in exchange for a board game/turn-based RPG hybrid. I enjoyed the game, but I struggled to call it accessible. Although the bulk of the game does away with the visual novel elements of the root series, there’s still a relatively lengthy prologue before you get to the gameplay and while it was great to see some familiar characters, it essentially acted as a cursory explanation due to the limited story progression. You can unlock additional characters either randomly using in-game currency or by selecting the character and purchasing them using real money, but any levels you gain in the story mode are lost if you choose to replay with that character. The levels do carry over into the battle mode, which also lets you create a party of multiple players (as long as you’ve completed a game with them, win or lose). None of this is to say I didn’t enjoy the game. On the contrary, it’s a great little game, but your experience will vary depending on how well you know the core series, while at the same time offering something very different than a lot of players would have experienced. It’s something I can see myself picking up and playing idly while on the bus, and if it’s your first introduction to the series - something I don’t recommend - it might just pique your interest in the series as a whole. Danganronpa S: Ultimate Summer Camp is available now on iOS and Android. By Lewis Rees Into the Breach Into the Breach is fantastic. A tightly-wound, intensely precise experience that trades the smooth onboarding, thematic universality, and manageable freneticism of FTL makes way for both a meticulous intimacy and escalated expanse of tactical options and interactions. Into the Breach on mobile is fantastic. As Subset Games told, turn-based games reduce the additional design considerations when translating a PC/console experience to the touchscreen , but Into the Breach needs to display a considerable amount of information, variables, and in-game actions. You can check PocketGamer’s own James Gilmour with his review of Into the Breach above, but I wanted to talk about the conversion process. One element that mobile phones have long struggled with is replicating hovering the mouse cursor – a suggestion of interest with the commitment of a button press. Subset Games has opted for a classic press-twice instead, with more double-presses when confirming options – a necessary concession to some of the imprecision of touchscreen controls in a game which ramps up the importance of every single decision. This is perhaps the only nitpick I have with the mobile port of Into the Breach, so I’d best make a meal of it, but this ever-so-slight additional requirement when pressing on a unit or terrain square for further info (and, to accommodate the smaller screen size, you frequently require multiple presses for full information) is a much more laborious and less immediate way of informing decision making than the ease of off-handedly sliding the mouse cursor across the entire screen. Some of the on-screen icons are also uncomfortably hard to read, such as the enemy attack traits. But these are very small trade-offs for bringing one of the strongest tactics games onto the small screen – an essential title on mobile (as long as you are a Netflix subscriber…). Dicey Dungeons There is one game that has effectively never left my phone, or the Ship of Theseus that is the journey from handset to handset, for 11 years. It’s the iOS port of a board game called Ascension, one of the early deckbuilding games that has helped popularise the genre. It is, to me, “solved”: I have spent so much time playing Ascension and its various expansions that my relationship with the game is irrevocably twisted. I no longer play games to earn the most points but to create decks that are so circuitous that the cycle of repetition freezes the app. Yes, I am one of those awful, awful people. Deckbuilders have since expanded into one of the most popular genres on mobile, PC, and console. But, truth be told, I’ve struggled to get onboard stalwart titles such as Slay the Spire and Meteorfall. Dicey Dungeons might well break the pattern. It shares a lot of similarities with Slay the Spire, with its charming pastel presentation and pairing of caustic retro game show-aethestic and RPG sensibilities. But – and this is controversial, as deckbuilders and card games already carry a weight of randomisation – there is something enjoyably tangible about implementing another slide of RNG with the dice, and another layer of decision making in when and which to use. It is early days – whether it will supplant Ascension as my go-to deckbuilder remains to be seen – but with six character classes and levels each, this is more than enough meat on the bones. Incoherence Lewis Rees: I’m a massive gamer. However, mobile gaming has always been a distraction for me, as opposed to my more serious commitment to console games. However, I make an exception for more tactile experiences, such as The Room or House of Da Vinci, or point-and-click titles like the Adventure Escape series. Not necessarily the flashiest games out there, but a lot of fun nonetheless. Particularly, I’m drawn to unusual point-and-clicks – those with interesting mechanics, or a deep and complex storyline, such as the sublime Zero Escape series, which is why I was immediately hooked by Incoherence. The player wakes up in a room, then proceeds to another, in classic Point-and-click fashion. What separates Incoherence from other titles, despite the relative simplicity of the gameplay, is the level design. In the hub you’re given four plates representing the protagonist’s memories, which you can input into devices in any order before proceeding through them. Each room has a series of puzzles to solve to unlock the next. The brilliance comes from an overarching puzzle in each section which can only be solved by placing the plates in the correct order to ensure you have the items necessary. The game also avoids the typical frustration common in point-and-click titles of needing to trek everywhere with the inclusion of an in-game camera. Do you need to use a code in one room to unlock a box in another? Just take a quick photo and delete it when you’re done. The puzzles are decently challenging – not to the point of frustration, but not something you can always breeze through, either, and the in-game hint system avoids the common “pay or watch an ad” or “wait five minutes to earn a new hint” method. You have all the hints available, and they’re removed as you progress, so if you’re really stuck you can get the help you need, when you need it. It’s a user-friendly method that stands out from similar titles, especially outside of the free-to-play market. Graphically the game is nothing revolutionary, but not inherently bad, either. There’s little in the way of moving parts, with a focus instead on quick transitions or flashes of memory. Similarly, the audio consists mostly of soft music, environmental sound effects, and the occasional narration – the latter of which is missing from many similar games. The game feels like it could have done well as a free-to-play title, but I personally found it well worth the price I paid. The game screams “Indie” in the best ways and, although it hasn’t set the world on fire in terms of revenue – the game has earned less than $5,000 since its release on June 30 - it’s an experience I recommend to anyone who’s a fan of the genre. Colony – A Space RPG I have a confession that I suspect is commonplace for those in the games industry: I play very few games. Much of this is due to time – since joining, I don’t think I’ve ever really switched off. Judging by my conversations with others in the games industry, this is similarly commonplace. This means a lot of games with considerable time commitments, randomisation, or PvP are not really within my grasp (although, amusingly enough, I have kept Magic: Arena installed on my phone for those errant moments, typically monthly, I can get a match in). This means I’m drawn to pared-down, limited experiences, typically the purview of ‘premium’ experiences. And, as Subset Games’ Matthew Davis rightly said in our chat, they’re in a weird place right now. I also had some unfortunate news about a loved one recently, and have been spending some time in the hospital. It is one of those bits of bad news that means a lot of waiting around hospitals too. Prime time for some mobile gaming, if I weren’t so distracted to the point of resisting distraction. A younger family member pulls out her iPad and starts playing Kaeden Wile’s Colony – A Space RPG . It is a stripped-back, visually barebones, multiple-choice text adventure with deckbuilding elements, some admittedly clunky emergent writing, and a slightly woolly logic. There is some Battlestar Galactica, a little Lord of the Rings, but the game it most reminds me of is Out There . Much of that is because my experience playing Colony – A Space RPG is eerily reminiscent of how I first played Out There; in a hospital waiting room, with a loved one, waiting on an update for someone I care about, and being forced to fight my impatience. She chides me for making stupid decisions, which is reasonable, but the pace is brisk and some of the interactions are quite amusing, if a little tropey. Managing cards in battles felt familiar, but lacked the endlessly complex rules manipulation of a Magic: The Gathering or the tight precision of a Slay the Spire. Not very critically-minded of me, but I don’t know if there is any audio: it felt improper, having the sound up. Colony – A Space RPG is Game of the Week almost by default; it is the only mobile (well, tablet) game I’ve played this week, and I wasn’t really the pilot. But if it had to be one game, I’m glad it was Colony. Disney Mirrorverse This week saw the release of Disney Mirrorverse, and I’ve long held the belief that the Disney universe has all the potential in the world for the games market, such as the awesome Kingdom Hearts series. We forget the darkness of the stories, and the sanitisation of violent elements doesn’t mean those elements are absent. Disney Mirrorverse brings that darkness to the surface. Set in an alternative universe where Disney heroes and villains live in relative harmony – with a few exceptions – the game pits familiar faces against the fractured – corrupted copies of themselves. You build a team and embark on simple missions to gain experience and level up, but I suppose your experience depends largely on luck. The game floods you with crystals, with which you can unlock characters, relatively early, but this is a double-edged sword. Heroes are split into four classes – melee, ranged, tanks, and healers – but after a few hours of playtime – and buying one £2.49 pack which included a few crystals – I’d accumulated fifteen different playable characters, but I found that once I found a reliable team, I rarely felt the need to branch outside them. It's worth noting, however, that unlike many gacha games this one uses characters people have strong emotional connections with. Disney is banking on these emotional bonds – especially among younger players – to earn revenue. As such Disney Mirrorverse doesn’t reinvent the wheel, but it does realign it. As for the gameplay, Disney Mirrorverse is a relatively simple action RPG. You control one character at a time, using one finger to move and another to attack. Every character has unique special attacks or added quirks to their attacking, such as Merida getting a critical hit bonus after enough hits or Ian Lightfoot switching from periodically buffing attack and defence. The graphics are nice enough, if nothing groundbreaking, and I appreciated the fact that the characters aren’t exact copies of their mainstream counterparts. For example Sulley wears futuristic armour, while Merida fights with a spectral bow and arrow, and Oogie Boogie’s obsession with gambling is represented by a flail made of dice and a roulette wheel shield. It really did drive in that these aren’t quite the characters we’re used to. However, I did find that the focus on giving a consistent art style did have its own issues. While a lot of characters look impressive, characters from more recent films, such as Ian Lightfoot, look noticeably worse than in their source films. It’s a pragmatic choice that ensures that the characters don’t stand out too much from each other but does have a bit of an uncanny valley effect. Still, there’s a charm in simplicity. Like Kingdom Hearts, there’s a simple joy in seeing familiar characters interact in new contexts, and the gameplay loop meant that, while I did have my favourites, switching out never felt like it put me at too much of a disadvantage. With over 200,000 downloads and $100,000 in earnings since release, I can see Disney Mirrorverse becoming a big hit over the coming weeks. Phoenix Wright Ace Attorney Trilogy If you’re looking for an engaging, charming, and gripping story, buy Phoenix Wright: Ace Attorney Trilogy, which made its return to Android after nine long years. If you’re looking for a more contemporary and nuanced investigative story with numerous paths and endings to reward multiple playthroughs… I might recommend looking elsewhere. That’s an unfair criticism, really. The Ace Attorney trilogy first launched in 2001 on the Nintendo Game Boy Advance, and not only have the means and tools in which video games stories can be created with changed considerably, but also our sensibilities as consumers and cultures. Frankly, it’s a testament that Phoenix Wright’s caustic, cartoonish charm is as potent as ever, several decades down the line. The Android version is not a mobile-specific port, but rather converting the Nintendo Switch version to handsets. But it’s hard to look at the flexibility of interactive fiction like Overboard! and not pang for a little more modernity. Ace Attorney’s linearity can also be a source of frustration, and have players resorting to pixel hunting for a clue that you just tapped slightly too far to the side to get beforehand. It’s also a steeper price tag, at $22.99. Developers deserve to be renumerated for their considerable effort and talent, and pricing of mobile games is a hole of a conversation we don’t have time to get into right now. But is a huge advocate for access to gaming – and this means acknowledging the entry points that F2P offers, even if there are a wealth of monetisation strategies we find distasteful. $22.99 to anyone in the world is not a disposable amount of money (and if you do think $22.99 is pocket change, has a very long list of worthwhile causes and charities you can donate towards). So, old and expensive and most valuable the first time through. Hardly a glittering recommendation so far – what precisely do you get with Ace Attorney? Easy, you get three games of immense storytelling joy, with a cast of characters both well-defined and believably malleable, structured with a pacing and challenge that accommodates portable gaming. And it’s back on Android after nine years. (and if you don’t want lawyers but like the idea of classics on mobile, can I recommend Professor Layton?) Diablo Immortal We’re diverging from the regular parameters of Game of the Week, which typically profiles a title that has been released over the last seven days, but the truth is we have been playing only one mobile title, and that’s Diablo Immortal. Let’s be upfront: there will not be any comments on the presence of IAPs because we have not reached endgame. In fact, we are barely past the tutorial (although the infamous pop-up following Mad King’s Breach, as shared by Stephen Totilo, was admittedly met with some bemusement). Just finished a dungeon with two random players So, here’s our thoughts on Diablo Immortal: it’s fine. It is, as one would expect from Blizzard, a very graphically appealing title that competently translates the mouse-and-keyboard experience into fluid and accessible touchscreen controls. We are still within the opening hours, so we can’t speak as to how reliable they will be during the chaotic, number-crunching endgame but so far, it’s a smooth, easy ride. It is also, again at this early stage, generous with item drops and variety. Five classes are available from launch, and while we have not explored all of them, compatriots tell us they bring sufficiently divergent playstyles and build variety. But in all honesty, it’s been hard to engage with it. In truth, a Diablo experience has been something has sought for a long time (including having previously spent a couple of hours on Making Fun’s Eternium). Knowing that the endgame involves considerable financial investment and heavy randomisation saps our enthusiasm by considerable margins. As amusing as the Mad King’s Breach Trove pop-up is, many of us at struggle in the face of such overt monetisation, and Diablo Immortal not being released in Belgium and the Netherlands is as clear a statement about the commitment to gambling mechanics within the game's monetisation. Diablo Immortal remains on our phone, but whether we'll return to our grumbling, mumbling monk is less certain. Dragon Quest Builders In lieu of Diablo Immortal – which released just at the point today's Game of the Week writer is spending some time disconnected from the world – we want to discuss another great port. Last week, was a little disappointed at the lack of refinement in the mobile port of Streets of Rage 4 to turn it into a true mobile experience. It was a straightforward, unexceptional port of an enjoyable, reminiscent side-scroller brawler. Game of the Week is also guilty of perhaps overegging its archaic disdain with virtual d-pads. Frankly, games including Call of Duty Mobile, Wild Rift, and Pokémon Unite have proven that the vast majority of players don’t struggle with onscreen control complexity – the ubiquity and internationality of mobile gaming means more players have experience with virtual d-pads than not. But it is deeply refreshing to see a mobile port of a console experience that embraces the benefits of touchscreen controls, to deliver something that smooths the rough edges of virtual d-pads with functionality that rivals – if not, dare I say, bests – a physical controller. But we’re getting ahead of ourselves. Dragon Quest Builders is a third-person JRPG X Minecraft, marrying the discreetly subversive charm of Dragon Quest with the emergent gameplay of Minecraft’s survival loop… at least, that’s the promise. In reality, it is closer to a Lego instruction manual or a paint-by-numbers. The game’s rigid storyline tightly grips your hand and doesn’t care to let go. You’ll have space to create, but your original construction efforts won’t translate into progress, and its only benefit is intrinsic (and that’s ignoring the self-hindrance when wrestling with the limited resources in each environment). This linearity is made more tolerable – even palatable – by the breezy pace and compelling writing, smooth player progression, and some degree of moment-to-moment flexibility (and I cannot say enough of the charm offensive in the sequel, which will hopefully similarly be ported, that turns a laborious, mandatory, unskippable tutorial into a compelling moment that ends too soon). But the controls. They are rigidly unintuitive on a controller and I’ll admit to trepidation when downloading Dragon Quest Builders on the iPhone. But the mobile port successfully reduces that frustration with a straightforward solution: tap-to-build. Tap anywhere on the screen to place a block at that location. It’s a simple, elegant, perhaps aggressively obvious solution that furnishes the mobile port with something bespoke and compelling, and that cannot be replicated on consoles. didn’t complete either Builders 1 or 2 on its console iterations. Perhaps we will this time. Streets of Rage 4 An arcade bar recently opened in the city. It has perhaps the trifecta of desirable arcades – Time Crisis 2 with working recoil, a four-players Simpsons cab, and a four-player Teenage Mutant Ninja Turtles cab. The latter two are big draws for me, being a fan of side-scrolling beat ‘em ups. But I have to admit, they don’t produce the same kind of magic for me; the experience rings a little hollow nowadays. Streets of Rage 4 brings contemporary sensibilities to the somewhat faded genre – fighting game-esque combos and air juggles, more pronounced differences between selectable characters, and a heightened pace of play. It is also deeply reverential to the legacy of the franchise, with deeply affectionate unlockables and – the true star of Streets of Rage 4 – new original tracks by maestro Yuzo Koshiro. While he only contributed a handful of tracks, they are undoubtedly the best in the game and aptly recall the techno heart of the Mega Drive title’s sound. There are very few changes – or any improvements – to the mobile release. It does, disappointingly, fails to scale the playing field to match most phone’s wider-than-widescreen sizes, instead opting for some unremarkable but otherwise still tacky borders. They are, at least, a convenient spot for the onscreen buttons (which are removed when playing with a controller). But otherwise, the experience is much the same as its console and PC editions. The biggest absence by far is the lack of multiplayer, although Dotemu has stated that this will be added in a free update “after release”. I can’t help but feel a little disappointed at the lack of refinement in the Streets of Rage 4 mobile port. While the convergence between the mobile and console/PC gaming experiences – especially in cross-play titles like Genshin Impact – will also strengthen mobile gaming, there are of course differences to the ways people engage with mobile games, if only physically. It is disappointing to see this hasn’t been taken into consideration. This is Streets of Rage 4 on mobile, no more and no less. Apex Legends Mobile Apex Legends Mobile is one of the most impressive experiences I’ve had on a mobile game. It is as technically impressively as the big box-scale iterations of Call of Duty and Genshin Impact, and while Apex Legends was always persuasive and compelling on PC and console, there is something that remains astounding when seeing it on the small screen. I do have one problem though: I’m rubbish at it. There are a handful of reasons why I’m rubbish at it. The most important is my innate, underwhelming skill and lack of reflexes, but more useful to discuss would be the control scheme and implementation. I remain of the opinion that games with this degree of control complexity are, for the most part, incompatible with touchscreen controls. The fidelity and implementation of virtual d-pads has become smoother, and I certainly welcome more involved experiences on mobile beyond casual and mid-core. But I did read this on… I’ve served my time in the Monster Hunter claw grip prison, I know the contortions necessary to make the most of physical restrictions. But I think, for my upcoming train trip, I might just bring my DualShock controller with me instead. Dislyte We at (at least, those of us who write the Game of the Week column) have spoken about our struggles with gacha games, and the latest title from Lilith Games – creators of Rise of Kingdoms and AFK Arena – Dislyte, when reduced to its constituent components, doesn’t sound like the one to persuade me otherwise: a character-focused gacha with auto-combat options. But what is most enticing is the sheer quality of its presentation. Check out this story trailer: I like bright colours and enjoyably tacky EDM, and Dislyte has both in spades. There is a sheer polish and confidence in expressing the theme, described by Lilith Games as “urban mythology”, and a strict recognition in the importance of worldbuilding and lending immediate appeal to its characters. I’m somewhat old, so my mind goes back to Blizzard when I think of studios that can create such powerful and appealing immediacy, but I think that does a disservice to the work Riot, Supercell, Rovio, and ustwo have done to infuse their cast of characters with the kind of brand recognition that gets them made into feature films and parade balloons. While mobile games lean towards a ubiquity based in appealing to as wide an audience as possible (you only need to see the similarities between Warcraft Arclight Rumble and Clash Mini ), Dislyte has a more aggressively distinctive style – give me more of those bright colours and trashy EDM, thank you. Warcraft Arclight Rumble (alpha) This week’s entry feels a little… gaudy, because one of the most beneficial elements of Game of the Week is that we get to profile games that may not get the same kind of attention from our news coverage or perhaps help you discover a bit of a gem. In any case, it should be mandatory that it's a game that players can freely access. But I’ll be honest, the only mobile game I’ve played this week has been the alpha of Warcraft Arclight Rumble , which ended on May 3. So, what do I think? In all honesty, hard to say. It very clearly exists in the same stable as Supercell’s Clash Royale, paired with a similar toy-like interpretation of the recognisable Warcraft characters that similarly shares similarities to Clash Mini’s figurine aesthetic. And, similar to Clash Royale, you rotate through a ‘deck’ of units, deployed to attack your opponent’s landmarks while protecting your own, with some additional twists such as mineable gold and a rock-paper-scissors tactical layer to unit strength. But it is wrapped in that recognisable confidence that is exuded from most Blizzard games – this is as cohesive and immediate as Hearthstone’s take on the TCG is. Blizzard asserted itself as a worthy competitor on the mobile arena, and my immediate thoughts are Arclight Rumble will be more than an also-ran. I am not a Clash Royale player. Regardless, I can’t speak as to how persuasive Arclight Rumble will be in creating the necessary distance between itself and the Supercell classic. That will be central to any success for Blizzard. I have some concerns with readability – Jeremy Collins, art director, expressed the importance of efficiently keeping players informed, especially considering one of mobile’s inherent challenges : the small screen. Arclight Rumble placers more units across larger play fields than its contemporaries, and maybe – such as the multitudinous chickens – are minute and easily missed, were it not for the clucking: cute and efficient sound design but a band aid rather than a cure. But so far, the alpha succeeds in displaying the promise: this is a snappy, succinct strategy game that has managed to translate (at least, to my I’ve-played-Warcraft-2-and-nothing-else eyes) the Warcraft style into an approachable, mobile-friendly way. If there’s one element of Arclight Rumble that has truly caught my attention, it’s the single in-game currency . It’s a decidedly old-fashioned approach, and while there is plenty of time for change – in discussions with, the Blizzard team was understandably hesitant to commit to any one course – there is a refreshing simplicity to having a single currency and without gating any purchases through premium currencies or timed events. Undoubtedly it was a decision reached in response to a sense of fatigue that goes beyond just me. Echoes of Mana I’ll confess, I am past my time with gacha games. I played Final Fantasy Brave Exvius for, well, longer than expected before burning out on timers, currencies, and random drops. I tried to get into Genshin Impact – a mobile technical masterpiece – but struggle with virtual d-pads in a way, according to thatgamecompany’s Jenova Chen , the modern mobile player doesn’t. So why is Echoes of Mana our game of the week? Because it had its official release on April 27 and it’s one of the more persuasive implementations of virtual d-pads I’ve experienced. But if I were to describe how movement feels in the game, it would be offputting: walking around horizontal lines feels magnetised, and attacking is supported by a considerable amount of autotargeting. But for my old-man hands, this kind of stickiness gives the impression – or illusion – of the precision I have with a physical controller. The standard layout is also comfortable, although I’ll confess to not having looked at the customisation or accessibility options. In truth, there are many action mobile games I would like to enjoy, but have yet to adjust to virtual d-pads. Perhaps I get my hands on a Backbone (and chances are, I won’t get my hands on a Backbone). But in the meanwhile, Echoes of Mana stays on my phone. Is this enough to tear me away from Elden Ring when I want to get my action game fix? I’m unsure. It’s still a gacha game. Square Valley Today's Game of the Week starts on something of a sad note: our esteemed news editor, Aaron Orr, leaves today. Orr was not only the pioneer leading our news coverage, but was also the author of the Game of the Week column (among many other regular items on the site), and I want to thank him [discreetly] for his time here, and wish him the very best. Absences have me in a reflective mood. And titles like Square Valley, a world-creating puzzle game by Ryan Becijos, are fine accompaniments for such states of mind. Square Valley positions you as the Spirit of the Valley, forming settlements at the requests of your citizens. There are many similar titles but if you're an old man, like me, it may put you in mind of the citybuilding elements of the PS2 game, Dark Cloud. So far, the puzzles follow a discernable logic that is delicately taxing without being ponderous or, worse, illogical, although Square Valley was released on April 21 and I'll confess to not having played extensively. So, Dark Cloud and tabletop games. Square Valley has a tactility that emulates the same feeling as a well-placed wooden town or meeple, and a soft soundscape that adds a touch of serenity. Sorry, that's a little overblown; I'm not describing a religious experience. But that's what reflective moods do to me. Akindo Have you ever just wanted to sit back and let everyone else do the hard work whilst you reap the rewards? Well now you can as Japanese game dev Zoo Corp has launched its pixel-art RPG Akindo on the App Store and Google Play in additional countries. In Akindo you take the role of a merchant that needs to invest in exploration and industry in order to help develop your island. Rather than fighting yourself you are accompanied by an entourage of guards that each have different skills to protect you as you explore and liberate the surrounding areas from evil mushrooms and the like. Unlike similar games that use card-based gameplay, the combat in Akindo is real-time as you control your party across the battlefield and use the special abilities of the guards. The merchant themselves isn’t always useless and can fire all their hard earned cash at the enemies with the aptly named ‘money gun’. As you liberate the areas you collect materials to sell to fund your expansion, or you can use the materials to construct new things for your growing island. There are also quests to complete to bring in the extra cash as you grow your island, including daily and weekly, as well as world quests and achievements. Once you have liberated one island you are free to find more to liberate and this brings with it the ‘island management’ feature that allows you to build upon previous islands claimed and get your ROI. Unlike other games that gradually show you the features of the game as you play, Akindo info dumps pretty hard at the start. Because of this I ended up skipping some of the text to get right into gameplay but then ended up wondering what to do next. Overall, Akindo is a nice example of how less can be more, and despite its slightly overwhelming number of things you have to remember to do right off the bat, once you get into it it’s not as confusing as it seems. Catchee Ever since the start of the COVID-19 pandemic we have found ourselves commuting less and less. Not only are people not travelling into offices as much, but we are also using public transport for leisure considerably less than before. What this has meant for me is that I am playing a lot less casual and hypercasual mobile games. These are the types of games that I would use to bide time from A to B and now my commute to work is roughly 13 steps I don’t have time that I need to fill as much. This week however I thought I would give one a try and Laser Dog had launched their latest title, Catchee, a blend between a classic arcade catching game and rhythm. In Catchee, you catch items that fall from the sky by swiping left and right in time with mind-numbingly infectious songs that would find themselves at home at a school disco. As you progress not only does the song get "bigger" with more instruments but it also gets faster and pitch, which increases the difficulty somewhat. There are several skins that change both the things that are falling and the receptacle that you use to catch them. Of course, my favourite is the toilet that catches poo… One issue I have with Catchee is how long it takes to unlock a second song, even with ads that provide a greater boost to the in-game currency awarded performing well on a song I can only listen to "it’s all about you, the happy things you do" so many times before I want to throw my phone at a wall. Of course, being a casual game you’re not expected to dedicate as much time in one sitting as you may do for a hardcore rhythm game, so it can be expected that the game doesn’t have many songs yet and the unlock curve is steeper. Nonetheless, Catchee is the most fun I have had with a casual game for a long time, and it is surprisingly more difficult than many other casual games on the market, which is very refreshing. When searching for more information about the came I came across a video diary from the Laser Dog team, the UK-based duo Simon Renshaw and Rob Allison. The studio was facing dire straits and was concerned about closing its doors. Catchee was made within just a month as a last stretch to bring in some income after their last project had the plug pulled. Not only is Catchee a stellar example of a casual game game, it has a great story behind it. As a fan of previous Laser Dog games, in particular PKTBALL, I hope that Catchee does as intended and we can see more games from this dynamic duo in the future. Crush the Castle Legacy The revival rampage has recently made its way to mobile devices as popular games from the early days of mobile gaming are being brought back to drain our nostalgia spending funds. Consoles and PCs have already attacked our wallets over the past few years with remasters from the late nineties to the early 2010’s (too early for a remaster in my books), but the mobile world has now decided it is ready to do the same. This week, Armor Games launched Crush the Castle Legacy, a collection of all of the previous games in the series, which consists of over 300 levels. Crush the Castle was one of the earliest, if not the earliest, physics-based destruction games and even inspired Angry Birds, a series that long outlived the trebuchet tapper. In fact, upon opening the first game in the collection you are greeted by this message: "The classic that took the world of web games by storm. Before those birds were even a twinkle in some Finnish guy’s eye, castles were being crushed left right and centre by millions of players around the globe. It’s janky! It’s awkward! It’s difficult! But it’s a piece of history!" This is all true. I was one of those players that would tirelessly play Crush the Castle on my web browser whenever I booted up my PC before becoming frustrated at how janky and awkward the game was. Armor Games has stayed true to the original games and has featured all of the same music and sound effects that sounded dated even back in 2009 when the game was launched. Of course, this makes playing the game an even more nostalgic experience and is the biggest draw I can imagine the game has. The biggest change I can see is the classic 'open mouth, big eyes, looking to the side' app icon, but other than that, the game is the same as it was. Although I hadn’t played the game for over a decade I still remembered how much fun I had way back when. In the vast sea of web games back in the noughties there was always something new to play, but Crush the Castle has remained in my memory to this day as one of the better ones. I hadn't played Crush the Castle on a mobile device before today so I can’t compare it with its early days on mobile, however, it is a much more streamlined experience than on PC. If you haven’t played Crush the Castle before it is definitely worth a play now, even if just to learn what inspired one of the most recognisable mobile game franchises to date. Shatter Remastered Let’s be real, if you’re reading this it’s almost guaranteed that you have a Netflix subscription. As of late, the streaming service has been trying its hand at the mobile games business but is yet to get a strong grasp of mobile gamers. Currently, Netflix has 16 games available as free additional content when you have a subscription, but I have yet to play any of them since the game startered , until now. This week, Netflix added two new games to its service, This Is a True Story and Shatter Remastered, of which I tried the latter. Shatter is a Breakout clone originally developed by Sidhe for the Playstation 3 back in 2009. Shatter Remastered is an updated version of the game developed by Pik Pok, specifically for Netflix. Brick breaking games were one of the first introductions I had to mobile games, following Snake and Space Invaders that is. I would spend hours playing Brick Breaker on my Blackberry (remember those?) during my commute and was one of the reasons I stayed playing mobile games. Shatter Remastered stays true to the genre in that you bounce a ball, or balls, off of some blocks to break them in a classic Chucklevision "to me, to you" fashion. There isn’t much original gameplay but there are power ups that help you break the blocks faster. The best feature of the game is the boss fights in which you are faced with a moving target that can deal you damage too. Of course, Shatter Remastered is a touched-up version of an old game that has already been on mobile devices before, so it’s not really a great candidate for Game of the Week. Nonetheless, it is an important example of the type of games that Netflix will be offering with its services and provides interesting discourse on what exactly Netflix brings with mobile games, and whether the streaming service will ever be a strong contender in the industry. As Netflix expands its service and brings more games in, there is potential for it to be a competitor to the likes of Apple Arcade, but as it stands there is still work to be done to attract more users through mobile games. Although, as the games are readily available to Netflix subscribers for no extra cost, there is definitely no harm in giving them a go. Lingo Legend Every new year I tell myself that I will make progress in learning a new language and I habitually don’t do this. As a somewhat late mid-March resolution, I have decided to try and make some headway so I’m not embarrassed around all of my cosmopolitan, bi- or multilingual friends anymore. But surely language learning isn’t a game? Well, this week Hyperthought Games has launched Lingo Legend on iOS, a language learning app taught through gamified experience (I’ve said it’s a game so it’s a game). At the time of writing there are eight languages available to learn, including French, German, Italian, Japanese, Korean, Portuguese (Brazilian), Portuguese (European), and Spanish. Like every anime-watching Zoomer I chose Japanese, which begins with teaching the two fundamental alphabets of the language, Hiragana and Katakana. That isn’t the only reason mind you. With a 100-day Duolingo streak under my belt (circa 2019) and a confidence in my hiragana ability I am approaching this as an educational speedrun to assess the game. Time to learn Lingo Legends offers three levels of lessons - beginner, novice, and elementary - each involving more complex linguistic capabilities. I chose beginner as it introduces the basic elements of the language. The app transitions into a game almost immediately after language and difficulty selections. The game in question is Yorthwood, a mediaeval, fantasy card-collecting adventure game. What Lingo Legend does well is the introduction of various assessment methods right off the bat. The game introduces you to the basic vowels and has you recall them in various ways as well as trace the letters, or kana in this case. You can increase the difficulty as well which ramps up the number of different flash cards you will be assessed with, which makes things a little trickier but definitely worth the extra challenge. You can also change what area of the language to focus on, which also gives you an insight into how much content the game actually houses (it’s a lot). Lingo Legend also features a hub, where you can view your progress in your language learning journey, a leaderboard to compete against other 'students'. Yorthwood is under the Games section of this menu, hinting that there are more games likely to come as the service continues. Although free-to-play, Lingo Legend does feature a monthly subscription service for $9.99 a month. The subscription gives you similar to what other language learning apps provide, such as ad removal, unlimited attempts, more in-game content, and early access. Personally, I would suggest trialling the game for a month to see if you have the motivation to continue, but then the subscription does have its benefits to those that are serious. I can’t speak for other countries but the UK doesn’t approach language learning very aptly, we’re rather obtuse about it actually. I think that by combining education with a game, I, along with other players, will be able to endure language learning for a longer period compared with non-gamified language learning apps (and maybe even reach a 200-day Lingo Legend streak). Thanks for reading. Arigatou. ありがとう. Mounment Valley 2+ I’ll be honest: I’m cheating a little this week. I’ve spent about 30 minutes playing Monument Valley 2+ since it was released on Apple Arcade today. But this isn’t the extend of my falsehood, because I also played it a year ago. Monument Valley 2+ places you as a guiding influence that manipulates levels in geometrically impossible ways to help main character Ro traverse each stage. So far, so Echochrome (albeit one in which the puzzle-solving experience is so much cleaner). But the real charm of Monument Valley 2+ is the evocative, delicate atmosphere, storytelling, and soundtrack. Also, as someone who has spent more than his sentence wrestling with microtransactions and multiple currencies in Magic: The Gathering Arena, there is also something wholesomely cleansing about going through a complete experience. Monument Valley 2+’s inclusion in Apple Arcade is a perfect opportunity, either to introduce yourself to a wonderfully discreet, affecting experience or reacquaint yourself to its sublime minimalism all over again. The Impossible Game 2 Every corner of the games industry is currently obsessed with one thing: Elden Ring. FromSoftware is known for pain-stakingly difficult games, but this is one of the features that makes the games so addictive. Maybe one day Elden Ring will be available on mobile through the advances we’re seeing in cloud gaming, but for now we have to satiate our masochistic desires elsewhere. Luckily for us, FlukeDuke has released The Impossible Game 2 to once again ruin our days and nights. Mobile masochism Over 12 years on since the release of the first rage-inducing, one-button platformer The Impossible Game, this sequel brings back the bouncing box to once again survive the 2D perils. The second game has 20 levels to try your patience, four times the number of the original game and brings new features, such as guns and portals, to really put your index finger or thumb dexterity to the test. Each level has a different song behind it from an array of producers and DJs, such as Panda Eyes, Nitro Fun, MDK, or Aaro, although it is hard to enjoy the songs when they are constantly distracting you from perfectly timing your jumps. I can’t recommend muting the game though as being left alone with only your own thoughts whilst playing this game is not healthy. When playing the game’s predecessor, I remember friends and I taking turns trying to get the best score and laughing at one another failing, but not having a way to compete at once. This really is the future as The Impossible Game 2 lets you play against others in real time online in its battle royale mode which eliminates players until there is one left jumping. The online mode supports up to 60 players but I have yet to be in a game with more than 20 players. There is also a level editor that allows players to create their own torturous endeavours to annoy those in your immediate vicinity. The level editor contains almost all of the features seen in the game’s levels, however, doesn’t seem to allow you to upload them for others to play. With user-generated content a hot topic in the mobile industry, the integration of this feature will be crucial to the game’s future success. Keep on bouncing The Impossible Game 2 is completely free-to-play and includes no ads or any pay-to-win features, although there is a paid achievement pass that rewards skins, items, and new features for the level editor. There are more features to come in the future that appear to be behind a paywall, however, there is more than enough free content in the game as it stands at launch that future paid content is to be expected. As confident as you are in your abilities to be good at the game, you will be surprised with how many times you mess up, and also how long you stay engrossed in completing levels. The game may be simple, but it’s more than enough to fill some spare time in your day and angrily get back to whatever it was you were meant to be doing. I have been thoroughly annoyed but I still had a good time. Anyway, back to Elden Ring. Nickelodeon Kart Racers Whenever I play a racing game I always end up comparing it to the Mario Kart series to determine whether it is a good game or not. I always felt that this was an unfair comparison to make against mobile racing games in the past as Mario Kart wasn’t on mobile, however, with the release of Mario Kart Tour I now have my baseline. This week, Netmarble subsidiary Kung Fu Factory launched Nickelodeon Kart Racers on iOS and Android following almost a year of soft launch. One-tap racing Like it’s console and PC version before it, Nickelodeon Kart Racers (NKR) includes characters from all of the childhood fictional favourites from the past decade, such as Spongebob Squarepants, Avatar: The Last Airbender, Rugrats, and… Jojo Siwa? Unlike other racing games, NKR requires little input from players as the carts move forward automatically, with players tilting their phones side to side to collect coins, and tapping in time to make successful turns and jumps. What I like about the little player input required is that I can play with one hand and hold a cup of tea in the other - mobile gaming at its finest. Although playing the game too idly and not getting good scores on the quick-time events will cause you to lose, especially online. NKR features two modes: an offline racing mode against three other characters and an online one-on-one versus mode. The offline mode is fairly unchallenging but the online mode ramps up the difficulty a bit. Snooze fest My biggest issue with the game is how dated it looks. Considering the leaps and bounds the mobile games industry has made within the last few years it’s odd seeing a game utilise a large set of IP in a lacklustre way - especially considering the array of big IP racing games available on mobile (looking at you Sonic Racing). I mentioned that I compare mobile racing games to Mario Kart Tour, but I will be honest, I didn’t like that game very much at all, and that distaste has been replicated for NKR. The combination of tilting controls and single taps can make the game fairly fast-paced at times and get more than one brain cell clocking in, and also brings the difficulty level up a bit, but doesn’t really engage you for more than one race and makes it feel like a dodgy version of Temple Run. I don’t think I’ll be playing this one much more. Flash Party I think the most exciting thing about the mobile game industry is how quickly it is moving forward to rival console games in terms of quality. On February 17, XD Entertainment soft launched its mobile fighting game Flash Party on iOS. I don’t normally play games that are in soft launch but I have made an exception as its a global soft launch. I am a huge Smash Bros. fan (I even have the SSBU edition Nintendo Switch) so I went in not expecting much from a game that upon first impressions seems very much like a clone. The FOMO is strong with this one Flash Party lets you play against others online, either one on one or in teams of two, as well as an unlockable arena mode. You can also practice your skills offline which is a great way to learn the ins and outs of new characters. The controls are simple to use, with players having the ability to use either light or heavy attacks that change depending on the direction you are moving. Games last six minutes and players have three lives each, with most games ending before the timer runs out. Flash Party also looks good has nicely designed characters that each have their own unqiue look, although nothing strays that far from the imagination and no characters leave much of a lasting impression. The game includes seasons that each has its own battle pass, which is probably my favourite F2P monetisation strategy. My biggest gripe with this is that certain characters are only available through paying for the battle pass, an attempt to tap into the player's FOMO. The salt in the wound is that you can test players before unlocking them. I’ll be honest, when I downloaded this I expected to uninstall it pretty quickly afterwards, but I was surprised by how enjoyable the gameplay has been. I mentioned earlier that upon first look the game seems like a Smash Bros clone and well, essentially that is what it is. Not that this is entirely a bad thing, Smash Bros isn’t available on mobile so it fills a gap for that style of fighting game, and it’s hardly like Nintendo owns the format. I expect that Flash Party will do well in emerging, mobile-first markets due to its capability to run on lower end devices, from the iPhone 5S up. I also expect that this is essential for the game’s survival as unlike Smash Bros there isn’t a roster of characters that people already love to drive them to the game. My Hero: Ultra Impact The combination of games and anime is often cause for controversy (mainly on Twitter and Reddit) with players and fans never able to reach a  This week, Bandai Namco launched My Hero: Ultra Impact based on the Japanese manga and anime series My Hero Academia. There have been several mobile games based on My Hero Academia, however, only two have been released outside of Asia. I downloaded the first of the two, My Hero Academia: The Strongest Hero, when it was first made available but it has sat unplayed on my phone for since for hesitance that it would not be worth my time. To make up for my negligence I decided to download the newest of the two, Ultra Impact, and play that instead. Ultra Impact was first released in Japan last year and the English release includes all of the content added through liveops since launch. In many games this is staggered and overseas players get the content a couple of weeks to months after Japan, so this is a step in the right direction. Plus Ultra My Hero Ultra Impact follows the classic Bandai Namco anime series to mobile game formula and will feel very familiar to those that have played one before. The reason this formula is used is because it worked. Bandai Namco do a great job of creating an immersive experience with voice actors and music from the series, as well as an accurate 3D representation of the characters. However, Ultra Impact features cuter, "chibi" versions of the characters which I must admit have grown on me. The main campaign of Ultra Impact follows the plot of the series and Izuku Midoriya’s journey to become the number one hero. Playing through sets of levels will unveil more of the story. Levels feature turn-based combat that varies depending on the speed of the characters. You can also get help from other players in the form of special moves that give an additional ability to help you in your fight, such as a strong attack move. Characters can be upgraded to make them stronger in the fight against evil but it was a bit too overbearing a process for my finite attention span. I like to get right into the game without a lot of the 'do this' and 'do that' tutorials that detract from the actual playing of a game. There is Hero Base in the game that allows you to place certain heroes and furniture in one of the rooms modelled on the hero school. This feature pales in comparison to the town building of the most recent anime-based game I played from Bandai Namco, Isekai Memories, and really didn’t need to be included in the game at all. Although, as GameRefinery recently reported the prevalence of 'renovation' features in games it's no wonder this was included. I am sure you all expect this by now but Ultra Impact is mostly monetised through a gacha system that provides different versions of characters with varying rarities. Characters in the series don’t really tend to wear many outfits so I am interested to see the variety, or lack thereof, that the game will bring. One of the most impressive features of Ultra Impact is how well it can run on older devices. I played this on an iPhone 7s and I had no issues with overheating, crashes, or any of the regular issues high demanding games can give. What this led to was me actually enjoying the game for longer and playing for much longer than usual. It highlighted the issue of how important it is for games to be able to run on older devices as many potential players will not have the newest phones and can be turned away if a game doesn’t work for them. The verdict Ultra Impact suffers from the same pitfalls that other anime-based mobile games can face in that if you know the story you can get bored rather quickly. However, the catch 22 is that the game is targeted at fans of the series. With voice acting and music from the show I am a bit more engaged in the game as there is a nostalgia factor in play. With limited time available though, my eyes turn to new stories with fresh characters rather than a retelling of a story I know. Like the last Bandai Namco mobile game I played, Isekai Memories, Ultra Impact will probably keep me entertained on and off for a few weeks before I forget about it and leave it in the boneyard of my "games" folder. Yu-Gi-Oh! Master Duel I was cursed, and my innocence and naïvety were robbed. Like all children's tales, it started innoculously. It started with a trusted friend, a voice of calm and clarity in my life, whispering poison in my ear. He said: "Let's play Yu-Gi-Oh!" Let's start with the standard details out of the way, Yu-Gi-Oh! Master Duel is a faithful, successful recreation of the popular trading card game. It is loud, brash, and colourful in the ways you want the digital integration of an anime aesthetic-driven card game to be. It has a healthy card pool of over 10,000 cards, succesful cross-play and your profile is not platform-locked, and a steady – if ungenerous – allocation of in-game currencies. But I'll be entirely, fiercely honest: I have played very little Yu-Gi-Oh! Master Duel. In part due to it only recently reaching iOS in the Americas on February 3, but primarily because of fear. Fear of the unknown, but also fear of the familiar. The threat of capture and the sweet promise of oblivion. Yu-Gi-Oh! isn't annihilation as destruction but rather abrogation. You see, I'm a Magic: The Gathering player, albeit lapsed. I'll spare the embarrassing comparisons to first kisses, first girlfriends, or first cars, but there is something to be said about how your first experience with these kinds of games is imprinted. TCGs are enormously similar in tone and texture, if not ruleset. They're cumbersome, weighty beasts that ask you to commit to them as habit rather than exception, and I know my track record with damaging habits. I can't play Yu-Gi-Oh! Master Duel. It will start as an itch, then it will become a pattern, then it will take over. But hey; maybe we should get a game in some time? Just one game. The Office: Somehow We Manage COVID-19 changed the working world as we know it, with many offices now operating a hybrid-working system and some even working from home permanently. At, we’re remote workers. But, in spite of our somewhat quieter homes, some occasionally miss the workplace hubbub. This week, East Side Games launched The Office: Somehow We Manage, an idle mobile game based on the TV series. I thought I could get a taste of the office experience that so many have missed these past two years, so I decided to download it. I haven’t played an idle game since AdVenture Capitalist, which, despite its extremely catchy tune, was ultimately devoid of things to do. I remember Cookie Clicker was all the rage before that and possibly the game that made the idle genre so popular. It also didn’t have much to do. Welcome to Dunder Mifflin Set in the Dunder Mifflin Scranton branch, Somehow We Manage includes some of the most iconic moments from the series, such as my personal favourite, Jelly-gate. Although I personally believe that the original UK version of the series handled the jelly scene better; and, no, I’m not debating this. In addition to the scenes from the show, Somehow We Manage includes all of the main characters from the show, such as Michael, Jim, Pam, Dwight, Stanley and more. Although it is text-based dialogue, East Side Games has nailed the execution of each character. As to be expected in the idle genre, the main objective of the game is to tap. Tapping gets 'Leads' which increases the amount of money that each office worker can make, and the cycle continues. The game is split into episodes which each have different objectives, such as earning a certain amount or unlocking someone’s desk. The start of each episode resets the cash and leads from the prior episode but retains any upgrades to desks, decor, and characters. At the end of each episode there is a boss challenge. This involves tapping the screen as fast as possible to get as many Scottcoins (I’ll get to that) from Michael as possible and is probably the most fun part of the game. To make more money players can upgrade office workers and their desks with Michael’s self-made currency Scottcoins and the fuel of workers everywhere, coffee. Both of these in-game currencies are harder to collect but don’t really do much other than help to complete episodes faster. The first four episodes fly by and are finished in mere minutes each. Episode five takes the earnings cap into the trillions and by this point you’re already starting to lose interest due to the lack of engaging content coming your way. Other than the intro music of the show at the start of the game, Somehow We Manage includes no music when playing. Ordinarily, this would be something that turns me away from a game. In fact, the AdVenture Capitalist music was one of the reasons I played the game for as long as I did. However, the lack of music in Somehow We Manage captures the mundanity of offices with the constant clacking of keys, occasional phone calls, and the other muffled miscellaneous office noises, such as printers or cups being put down. Winner of the Dundies Overall, The Office: Somehow We Manage is another good example of East Side Games’ ability to accurately represent a popular TV series in a game. Although the game is funny and looks good, the gameplay just isn’t engaging enough for players to come back and continue the metaphorical daily nine to five grind. Fans of The Office that are more likely to play the game already know the majority of skits from the show, so other than the nostalgia fact

  • When was Supercell founded?

    Supercell was founded in 2010.

  • Where is Supercell's headquarters?

    Supercell's headquarters is located at Itaamerenkatu 11-13, Helsinki.

  • What is Supercell's latest funding round?

    Supercell's latest funding round is Corporate Majority - V.

  • How much did Supercell raise?

    Supercell raised a total of $142M.

  • Who are the investors of Supercell?

    Investors of Supercell include Tencent Holdings, Luxembourg Societe Anonyme, CITIC Capital, AVIC Capital, China Cinda Asset Management and 13 more.

  • Who are Supercell's competitors?

    Competitors of Supercell include Zynga, PlayStudios, Machine Zone, Big Fish Games, Kabam and 9 more.

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