Curated by the whatoplay community, here are a few games that are not too time-demanding for busy gamers

7 Games For Busy People

Pia and I chat with Alva Majo about his influences, the struggles of being an indie game developer, and why Majorariatto doesn't release freemium games.

Why pureya is NOT a Free Game

We chat with Simon Joslin, the Executive Producer and Level Designer behind the The Gardens Between to tell us more about the development and inspiration behind this beautiful game.

How The Gardens Between Was Inspired by The Minority Report

There was a time when MMORPGs ruled. They have since been relegated to a small corner amidst explosive growth in mobile and competitive gaming. Lack of innovation and bad monetization practices (pay-to-win, loot boxes, deceptive microtransactions, etc.) are two of the many causes of the genre’s decline. 


Among the handful of upcoming titles is <a href="https://embersword.com/" title="Emmber Sword official website">Ember Sword</a>, a PC MMORPG playable directly in your browser or through a PC-client, promising to fix the broken monetization system found in traditional MMOs. Developed by <a href="https://socouch.com/">So Couch Studios</a>, it integrates blockchain tech into the game’s economy giving players ownership of some in-game items.


There’s only so much we can dig up on the web about <a href="https://whatoplay.com/blockchain/ember-sword/">Ember Sword</a> so we asked So Couch Studios’ Chief Marketing Officer Sune Thorsen to give us more insight about the game and its development.

Ember Sword is one of the few blockchain games that is more than just a collectible. What were the game design hurdles in integrating blockchain into the overall MMO mechanics?

The blockchain tech we’re using has actually helped solve typical MMORPG design hurdles more than it has been a hindrance for the design. For example, keeping the end-game content interesting for hardcore players is one of the biggest challenges for MMORPGs. In Ember Sword, we reward players who participate in end-game PvP and PvE content with cosmetic items that would typically otherwise be sold through lootboxes. These cosmetics are “on-chain” items that each have a unique item history detailing the epic feats they have partaken in, they’re all probably scarce digital collectibles that exist in a finite supply, and they can freely be traded among players for the game’s premium currency; PIXEL, with us taking a small fee on these marketplace transactions.

<blockquote>
	...no on-chain item in Ember Sword impacts your power and strength in the game
</blockquote>


In a traditional MMORPG design, these cosmetics would typically either be account bound or only tradeable for in-game gold. However, because we allow players to trade their cosmetics for PIXEL, players who are good at PvE and PvP can essentially earn PIXEL for free, which they can later spend on the optional monthly subscription, a pick-up pet, or other cosmetics. This is a huge incentive for players, and it solves one of the biggest MMORPG game design hurdles.

As with any technology, there are good and bad ways to implement blockchain tech in an MMORPG, but players of Ember Sword will get to experience how the tech can carve a new path forward for gameplay and monetization of Free-to-Play MMORPGs - a path without any Pay-to-Win! In fact, no on-chain item in Ember Sword impacts your power and strength in the game – but they make you look freakin’ cool, and their scarcity and item history make them true collectibles.

MMORPGs are often criticized for being time-sinks. How did you plan to keep the whole experience balanced and engaging for both hardcore and casual MMO players?


When it comes to catering to both hardcore and casual MMORPG players, the sandbox’ish game design helps a lot. Whatever you do in Ember Sword, you’re always progressing towards the next level in one of your many skills, such as woodcutting, fishing, mining, blacksmithing etc. This means even 20-30 minutes of gameplay will feel meaningful, as you’ve climbed one step closer to leveling up one of your skills. 

As a casual player, you will focus on the skills that make the most sense to you, such as e.g. melee to defeat enemies, fishing and cooking so you can always eat food to replenish HP, and woodcutting so you can sell logs to other players to generate gold. Focusing on just a single weapon-type skill will allow a casual player to be able to compete with hardcore players much faster.

As a hardcore player, on the other hand, you will typically attempt to level up all your skills, including all three weapon-type skills; melee, ranged, and energy. This gives you a near-endless amount of content to explore, with thousands of hours of gameplay.

There’s also plenty of both relaxed and challenging PvE as well as high-stakes PvP content to keep both casual and hardcore players engaged.

<img src="https://cdn2.whatoplay.com/blog/interview/ember-sword-screen.jpg" alt="Ember Sword screen">

You recently published a video on the first male playable character. How many more characters can we expect? How alike or different will they be from the usual MMO staples - tank, support, thief, etc.?

The video we released shows the main male character model, and we’re working on the female counterpart right now. These are the base models that players can customize during character creation.

Ember Sword features a classless combat system, which means there are no pre-defined classes to pick from when you create your character. This gives players ultimate freedom; the equipment you decide to wear determines who and what you are, and your skill levels define which abilities you can use with each type of weapon. Want to switch from your sword and shield to a bow? Go ahead. Want to switch back to a two-handed sword? The choice is always yours.
<div class="video-responsive">
	<iframe width="560" height="315" src="https://www.youtube.com/embed/Ge9yYVct5J8?controls=0" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div>

Relatively speaking, how massive is the Ember Sword world? And how will player-owned lands alter the gameplay?

The world is massive! And it’s ever-changing as well, ensuring a slightly different experience every time you login.

The world is split into 4 major regions, of which you pick one as your home region during character creation. Each region consists of 3 types of territories; Kingship, Wilderness, and Outlaw.

Outlaw territories are the most dangerous and are found on the edge between two regions. These territories are home to rare resources and high level monsters, but be careful; anyone you run into will be able to attack you. It is also in these territories that you fight over the control of Outlaw camps, which reward with you a rare collectible cosmetic, and allows you to place buildings only accessible by you or your guild and friends. Anyone can destroy your camp, so watch out!

Wilderness territories are the primary PvE areas and are rich in resources, monsters, and NPCs. You can attack players from opposing regions if they wander into your region’s Wilderness areas and start collecting resources. Open-world bosses also spawn in the Wilderness (and Kingship) territories. Get to them first and slay them for rare cosmetic rewards.

Kingship territories are strictly for PvE and resource collection, NPCs, quests etc. The kingship territories are controlled by the community through a total of 1344 landowners who decide what to place on each parcel of kingship territory land; NPCs, buildings, monsters etc..

Owning a parcel of land is not at the core of the Ember Sword gameplay experience (it doesn’t give you in-game advantages, nor access to content others can’t also access), and as such is not for most players, but it IS at the very core of the world design. It’s what keeps the world fresh and interesting. We wanted to create a world that was to a large extent controlled by the community of players, and those 1344 parcels of land was what fit the size of the Ember Sword world (more Kingship land would mean the open-world would become too large).


What is So Couch Studio’s guiding principle when it comes to balancing between developing a wonderful MMO experience and monetization?

We have a strong policy against Pay-to-Win. We want PvP in Ember Sword to be skill-based and competitive, and in order to achieve that, we have to make sure you can’t buy anything for PIXEL (the game’s premium currency) that makes you stronger in-game.

Maintaining a viable MMORPG business has often meant implementing Pay-to-Win, but with our business model (selling an optional monthly subscription, a few non-Pay-to-Win consumables, and earning a fee off of trading of cosmetics between players), we can thrive as a company while fighting predatory monetization and Pay-to-Win! In large part thanks to the blockchain, which is what allows us to earn a fee from the cosmetic marketplace transactions.

How do you foresee the evolution of Ember Sword and MMORPG, in general?

Ember Sword has already attracted thousands of pre-registrations, and we’re excited to bring a new, fair, and competitive Free-to-Play gameplay experience to millions of MMORPG players. 

We hope that we’ll be able to influence the MMORPG industry at large, pushing it towards fairer monetization strategies and more enticing and rewarding gameplay. Time will tell.

If anyone wants to join us on our journey, we’re more than happy to discuss Ember Sword on our Discord server: <a href="https://discord.gg/46P8rFs" title="Ember Sword Discord">https://discord.gg/46P8rFs</a>

We asked So Couch Studios’ Chief Marketing Officer Sune Thorsen to give us more insight about the game and its development.

How Ember Sword Plans to Redefine MMORPGs with Blockchain Tech

This month, <a href="https://whatoplay.com/developers/shallot-games-llc/">Shallot Games</a> offers the gaming community with <a href="https://whatoplay.com/ios/sprout-idle-garden/">Sprout: Idle Garden</a>, an idle clicker that is unlike any other in the market today. If you haven’t found that clicker game you enjoy, this might just change your mind.

What makes it so different? The gameplay is much more involved than other idle clickers -- it’s practically a garden simulator! Here, you get to decide exactly how your garden looks and exactly what kind of garden you want to have, whether it be a communal garden or the best floral farm ever. It hasn’t been long since Sprout has been released, but those who have played it will let you know that it’s the game you should play on your downtime.

We were given the privilege to have a little chat with one of Shallot Games’ co-founder, Reid Scarboro, the game development team behind this zen clicker.

Raine: Ever since Sprout: Idle Garden caught our eye, we have been extremely intrigued about Shallot Games. Can you tell us more about your development team? How long have you guys been developing games?

Reid: It’s just my brother Brad and myself, as far as the full-timers go! Personally, I’ve been making games since I was about 13, starting in Game Maker, though it was mostly exploratory/a hobby at the time. We founded Shallot Games together in 2014 when we decided we wanted to try to turn game development into careers. Since then we’ve been steadily growing our games and our skill-sets, with probably the biggest jump being with Vista Golf in 2017, which we were fortunate enough to have featured on the App Store. Today, we are extremely excited about the launch of Sprout and can’t wait to continue making games that people will hopefully love!


Raine: What made you want to start developing games on the mobile?

Reid: For whatever reason, I’ve always loved handheld electronics. I owned a few palm pilots in elementary school (my life was obviously very complicated in 5th grade, with many meetings, play dates, and pretend weddings to keep up with), and of course, was obsessive about all of Nintendo’s handhelds (still growing the collection today). I wanted to make games for these pieces of technology that I’ve loved for so long, and we currently value the huge number of people who have access to our games.

Raine: Before Sprout, you developed platformers Luma’s Odyssey and Gap Cat, and golf games Vista Golf, Putthole and Vista Golf Rivals. What made you, pardon the pun, tap into idle clickers?

Reid: Gap Cat was made in the wake of Flappy Bird-style games and was our first commercial release. Though it wasn’t pushing the bar at all, we learned a huge amount about the process, which has enabled us to find success in the games that followed. Luma’s Odyssey was a game I created with 5th-grade students at a local school - my girlfriend (Victoria, who will later appear in Sprout) is the art teacher there, and we thought it would be a cool/rewarding project, for both us and the kids. The kids came up with all of the themes and drew the pixel art on graph paper, I translated their art and ideas into the game. For Sprout, we actually didn’t start with building an idle game, I like to think of it as a builder/simulation game first. We knew we wanted to have flowers, enable the player’s creativity, and create a calming environment. The idle mechanics paired very well with all of those things, as they usually tend to remove any stress occasionally found in other genres.

Raine: At the start of the game, we are greeted with a dedication to a certain someone named Victoria. 
“For Victoria, who paints the world with color” Was she the person who inspired you to make the game? Please tell us the story of how Sprout: Idle Garden came to be.

Reid: Victoria is indeed the inspiration for the game, I created the game for her. She is my lovely girlfriend of a little over three years. Sprout was originally meant to be a Christmas gift (missed that mark by a solid 3 months), though as it evolved, we realized we wanted to flesh the game out a bit more and do a full release. She is an incredibly creative and empathetic artist, who loves flowers, and works very hard in her multiple jobs. I was hoping to capture some of the things that she values and wrap it in a very calming/almost meditative package. The game has come quite a long way since it’s very first playable version. We realized we wanted to share this with a wider audience, as Victoria is certainly not the only one who appreciates an occasional break from the stresses of work, or the beauty that exists in all of the flowers of the world.

Raine: Sprout: Idle Garden is currently only available on iOS, will there be an Android port coming out soon?

Reid: Yes, we plan to launch early access on Android very soon, stay tuned!

Raine: Lastly, are you working on other games now? What other games can we expect from Shallot Games?

Reid: We are taking the MVP (minimum viable product) approach to Sprout. This means we released a very basic version of the game, and plan to release frequent updates based on player feedback to ensure we’re building the game that people want. So for now, we are 100% Sprout. That being said, we have no shortage of other game ideas that we are super excited to get started on!

Thank you so much for your time, Reid! We look forward to what Shallot Games has for us in the future!

iOS-exclusive Sprout skyrocketed into the top of our list in the last month primarily due to its innovative approach to the idle clicker mechanics. Raine chats with the Reid Scarboro, the cofounder of Shallot Games to discuss Sprout and the next steps for the dev studio.

Sprout: Idle Garden Coming to Android, An interview with Shallot Games

In 2018, <a href="https://whatoplay.com/developers/fireproof-games/">Fireproof Games</a> graced mobile gamers with <a href="https://whatoplay.com/ios/the-room-old-sins/">The Room: Old Sins on iOS</a> and <a href="https://whatoplay.com/android/the-room-old-sins/">Android</a>, another installment of their award-winning puzzle-adventure series. Previous The Room games received numerous awards not just for the challenging puzzles but also the ingenious ways they utilize touch functions on mobile devices. Old Sins is no exception.

Raine Colubio, whatoplay’s Community Manager, had the opportunity to interview Barry Meade, one of the founders of Fireproof Games.

Raine: Hello Barry. Thank you so much for giving us the time to talk to you about the original The Room trilogy and the new Old Sins. Fans, me included, waited for its release and it was every bit as good as expected. The first three The Room games were interconnected -- following the same story. However, Old Sins while still in the same universe, has its own storyline. Will it be followed by a couple more games?

Barry: We don’t feel like we’re finished with The Room yet so yes, we expect more games to come in the future. As for stories, we would only look back to an older story if we thought we had something cool to add to it. We enjoyed making an original story for The Room: Old Sins and in a similar way I expect we’ll continue to give each new game its own flavour.

Raine: The first game of the trilogy was released on the Nintendo Switch last year. Are games 2 and 3 following anytime soon?
 
Barry: We’d love to put all the Room games on Switch as the platform is such a natural home for The Room’s kind of gameplay. It all depends on the sales of the first game however – if enough people buy it, we’ll put as many games as we can on Switch!

Raine: The 3D puzzles of the whole series are one-of-a-kind and among the best in mobile platforms. Are there plans to expand to a full VR experience?

Barry: Honestly, we’ve always wanted to make a VR-only Room game and we’re constantly looking for ways to make it happen. As far as we’re concerned The Room has the potential to be one of the very best VR games so I’m pretty sure sure one day it will, I just can’t say exactly when.

Raine: What can we expect from Fireproof games? Are you currently working on a game outside of the The Room? 

Barry: Fireproof are always dreaming up new game ideas outside of The Room! We have a few ideas that we already like the look of and as a team we like to be experimental where we can, so I would definitely say there are non-Room games in our future.

It is truly exciting to see where Fireproof games will take us next, whether we’ll be once again trapped in another Room installment, or be it another game entirely. This is a game studio to look out for not only on mobile, but potentially the other platforms as well.

Barry Meade, one of the founders of Fireproof Games, shares plans for more The Room titles, virtual reality, the Nintendo Switch and the future of the award-winning indie studio he cofounded.


More 'The Room' Games Coming Soon: An interview with Fireproof Games

In 2018, the gaming community was made richer with <a href="https://whatoplay.com/pc/gris" title="GRIS">GRIS</a>, the first title released by Barcelona-based indie suite, <a href="https://whatoplay.com/developers/nomada-studio/" title="Nomada Studio">Nomada Studio</a>. It receive several awards including our very own <a href="https://whatoplay.com/awards/2018/pc-indie/">2018 Game of Year Award for Indie PC titles</a>. GRIS rise to critical success and popularity doesn't come as a surprise considering the team behind the studio. The studio was founded by Ubisoft alumni Adrian Cuevas and Roger Mendoza in partnership with distinquished artist Conrad Roset.

									Conrad, the creative director of GRIS, was responsible for the game's ethereal visuals -- the part praised by both critics and gamers. Raine Colubio, whatoplay's Community Manager, had the opportunity to chat with Conrad about GRIS.

									<figure>
										<img src="https://cdn2.whatoplay.com/blog/gris-visual.jpg" alt="GRIS on PC and Nintendo Switch">
									</figure>

									When asked about the transition from illustration to interactive art, the differences between the two media and all the associated challenges, this is what Conrad has to say:
									Conrad: It actually felt pretty natural. There were a few problems, especially balancing performance and practicality with artistic vision. This has been a very work and time intensive project. My creative process usually starts with a great deal of documentation. I look for videos, films, pictures, etc. to define the style of my work. In Gris this was done by all of the art team for about half a year. Then there's a stage of concept and we go from there to the definitive approach. I have always played videogames and I just asked myself "Why don't I make my own?". Not too long after that I met Adrian and Roger though a common acquaintance and soon we were developing a prototype.
									 Raine: GRIS is such a beautiful game, visually, aurally, and the subtle story really resonated with a lot of the players. During the Reddit AMA with Roger and Adrian, they mentioned that the ‘feel’ of GRIS was inspired by <a href="https://whatoplay.com/ps3/journey/">Journey</a>, <a href="https://whatoplay.com/ps4/inside/">INSIDE</a>, some Studio Ghibli films, and old school Disney films. Is this same true for your art style?
									Conrad: My two main references during my career as an illustrator have been <a href="https://en.wikipedia.org/wiki/Egon_Schiele">Egon Schielle</a> and <a href="https://en.wikipedia.org/wiki/Gustav_Klimt">Gustav Klimt</a>. Though surely they haven't been the only ones, many of the forms that I consumed during my life helped consolidating my style, and those films and games are not exceptions.
									Raine: How did the game’s concept come to you? With the game’s level of attention to detail, was it difficult to pull off?
									Conrad: I saw a sketch from a coworker and the idea of a colorless world that recovered it's color as the player advanced in the game came to me. As I said, there were a few difficulties. I wanted the game to feel as a whole illustration, and for me it was hard to use repeated assets. In the end we struck that middle point, but it wasn't easy.
									Raine: Some would argue GRIS is more of an experience than a traditional game. It’s more of a playable art piece. We see a lot of that kind of game pop up in the recent years with the likes of Journey, Limbo, Monument valley, etc -- still, there are those who think the gameplay can get a tad bit boring since it’s not so adrenaline pumping as most games. What do you say to that? Also how do you feel about people calling your game interactive art?
									Conrad: Not every game is for everyone. It is perfectly normal for players who are looking for a more action packed experience to feel so, we are not trying to tell anyone what they should think about GRIS. We just say what we have to say in it, and then let the public decide what it means for them.
									Raine: At the end of the day, GRIS was an amazing success, and so many people resonating with it -- especially because it’s so beautiful, how does this make you feel?
									Conrad: We didn't expect this overwhelmingly positive response, but we are certainly not complaining! It is really heartwarming for us to see how so many people love it! It is an honor and a pleasure.
									Raine: Our community in YouTube and Facebook has been wanting to ask these questions. Are there any sequels in the horizon? Or a DLC, perhaps?
									Conrad: None at all! GRIS is a completed work, there's no need for those.
									Raine: It’s currently only available on the PC and Switch, will there be a PS4 or Xbox One version soon?
									Conrad: There's not a PS4 or xBox release planned, but in the future, who knows? We certainly aren't closing any doors!
									Raine: What’s next for Nomada Studio?
									Conrad: For now we rest, but soon we will come back with new ideas and projects!
									Raine: Lastly, what was your favorite part of GRIS?
									Baring the ending, I'd say it's the moment after GRIS crosses the great sandstorm and enters the temple in the desert.

Indie platformer GRIS is one of 2018's most beautiful games. Released on both the PC and Nintendo Switch, it garnered praises from both critics and gamers. whatoplay chats with Conrad Roset, the artist that created the visuals that defined the game.

Meet Conrad Roset, the Artist Behind GRIS's Mesmerizing Visuals

Tiny Bubbles, a puzzle game for <a href="https://whatoplay.com/ios/tiny-bubbles/">iOS</a>, <a href="https://whatoplay.com/android/tiny-bubblestm/">Android</a> and <a href="https://whatoplay.com/pc/tiny-bubbles/">PC</a>, was recently recognized as whatoplay’s 3rd <a href="https://whatoplay.com/awards/2018/ios/">Best iOS Game of the Year 2018</a>; as well as other awards and nominations including in the Google Play Indie Games Festival.

									The game came out of Seattle-based indie studio Pine Street Codeworks, founded by gaming industry veteran Stuart Denman and graphic designer Paulette Denman.

									Raine Colubio, whatoplay’s Community Manager talked to Stuart about Tiny Bubbles, it’s development, and the future of <a href="https://whatoplay.com/developers/pine-street-codeworks-llc/">Pine Street Codeworks</a>.

									Hello Stuart!

									Thank you for the opportunity to chat with you about Tiny Bubbles. Congratulations! The game is a critical success and it has received numerous awards including our Best iOS Games of 2018. I’d say it’s one of the more addicting yet relaxing mobile games.

									Raine: You’ve been developing games for many years -- founding several studios that worked on hardcore PC games -- and now, with Pine Street Codeworks, your first release is a calm, relaxing mobile title. Can you tell us more about your journey from hardcore to mobile?

									Stuart: I began working in 1994 on one of the first fully-3D (6 degrees of freedom) engines. My first game, Drakan, ended up being one of the first games to support GPU hardware. Drakan was an action-adventure about riding dragons and then hoping off to explore on the ground. I focused mainly on the technology side. After 15 years of working on AAA console games for companies like Midway, Activision, Sony and Microsoft, I had learned a ton about art and game design and became interested in making my own games. I was tired of working on the same games about shooting and blowing stuff up, or games that are derivative of other games. I wanted to make a game with a completely new game mechanic that made me feel like the first time I played Tetris. The medium of mobile games was attractive to me because the audience was much more broad at the time than on PC and console platforms.

									Raine: The bubbles in the game behave similarly to those in the real world. I read on the press kit that Tiny Bubbles was inspired by your grandfather’s research on actual soap bubbles. Can you tell us more about this?

									Stuart: My grandfather, Cyril Stanley Smith was one of the scientists who studied plutonium on the Manhattan Project. At the time, little was known about the properties of this unusual metal. He was a metallurgist and had a deep interest in the structure of materials. It turns out, soap bubble foams share a similar structure to how metals look under a microscope when they cool and the crystalline grains start to form. So after WWII, he studied soap bubble foams and published many papers on their properties and relationship to metals. He had a big influence on me when I was growing up. He had an infectious curiosity and fascination for nature. He died many years ago, but I couldn’t shake the idea that there must be a game somewhere in these amazing foams with unusual, yet familiar behavior.

									Raine: We’ve been reading a lot of requests for more of the game. Are there plans to release new levels, worlds or a sequel?

									Stuart: Yes, I’m overflowing with ideas on where I could take it next, so there will be more content and new gameplay at some point. One of the ideas I’m working on is a new creature that’s filled with ink and you have to manipulate the bubbles in a certain way to get him to release the color into the bubbles. Fans of the game can chat with me about these ideas on our <a href="https://discord.gg/Ery4xTu">Discord Server</a>. I’m also excited to announce that soon our music composer Kristoffer Larson will be releasing an Original Soundtrack for the game with 5 brand new songs and extended versions of existing tracks. I just heard a preview of this and it’s absolutely amazing. This will be a fantastic album for fans of Ambient and Techno. We’ll have links soon on our <a href="https://pinestreetcodeworks.com/tiny-bubbles">website</a>.

									Raine: Now that we’re talking about it, are there also plans to launch it on other platforms?

									Stuart: Yes, definitely. Right now I’m focused on this as well as supporting existing platforms. We’ve already announced our partnership with Hatch, Rovio’s mobile streaming service that’s been popular in Europe. Tiny Bubbles is also available now on <a href="http://store.steampowered.com/app/705500/Tiny_Bubbles/">PC/Mac/Linux</a> as well as <a href="https://play.google.com/store/apps/details?id=com.pinestreetcodeworks.TinyBubbles">Android</a> and <a href="https://itunes.apple.com/app/apple-store/id1116006048?pt=888169&ct=whatoplay&mt=8">iOS</a>. It doesn’t yet support dual-analog sticks, so that’s one of the features I’m working on to allow the game to play on more systems. We will have more to announce about that on <a href="https://facebook.com/pinestcw">Facebook</a> and Twitter (<a href="https://twitter.com/pinestcw?lang=en">@pinestcw</a>) in the coming months.

									Raine: In a lot of ways, this game mimics phenomenon found in nature, which we rarely see in casual games. Should we expect more games of this type from Pine Street Codworks?

									Stuart: Absolutely, in fact that’s my inspiration and I continue to look for new ideas inspired by nature. Sometimes I’ll just see a screenshot of some leaves and the way the lighting hits it can create so much emotion. Its like this “spider sense” that I get sometimes that calls to me “there must be a game in here somewhere.” The hard part is finding it and that requires a leap of faith and the time to just play around as a game designer to find the fun. It’s the best part of my job.
								
									Thank you so much for taking the time to answer our questions. We wish you more success in 2019 and the coming years.

Tiny Bubbles, a puzzle game for iOS, Android and PC, was recently recognized as whatoplay’s 3rd Best iOS Game of the Year 2018; as well as other awards and nominations including in the Google Play Indie Games Festival.