WEBVTT - Candy Crush's Sweet Success

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<v Speaker 1>Candy CRUSH's sweet success fifteen years in the ubiquitous mobile

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<v Speaker 1>game is still Crushing It by Alana Oakin Read aloud

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<v Speaker 1>by Mark Lidorf. Johanna Shurikey doesn't time travel anymore. The

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<v Speaker 1>now thirty four year old had been playing Candy Crush

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<v Speaker 1>saga for years when she experienced the stuff of grad

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<v Speaker 1>school nightmares. Its finals week and I woke up in

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<v Speaker 1>the morning to a startle. I missed a study session

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<v Speaker 1>for my final exam because my phone alarm never went off.

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<v Speaker 1>This was the result of what many gamers refer to

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<v Speaker 1>as time traveling, resetting the date on a device to

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<v Speaker 1>acquire more lives or other time locked bonuses. At the time,

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<v Speaker 1>Candy Crush gave players five new lives every day, so

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<v Speaker 1>dedicated players such as Shurikey would simply change the time

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<v Speaker 1>and keep right on crushing. That did occasionally have the

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<v Speaker 1>unintended side effect of messing with alarms and calendars. It

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<v Speaker 1>certainly messed with Shurakkeie. I thought this is the actual

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<v Speaker 1>definition of an addiction, she says. I was like, I

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<v Speaker 1>need to go cold turkey. I hate this game, and

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<v Speaker 1>I deleted it off my phone about three years later,

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<v Speaker 1>Shurooki redownloaded the app, and it's remained what she calls

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<v Speaker 1>a guilty pleasure ever since, without causing her to miss

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<v Speaker 1>any more important meetings. Candy CRUSH's longevity has made it

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<v Speaker 1>something of a time traveler itself. Many games, especially the

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<v Speaker 1>ones on our phones, spike in public interest and then

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<v Speaker 1>fall just as sharply. When was the last time you

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<v Speaker 1>heard about Kim Kardashian Hollywood, a twenty fourteen mobile game

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<v Speaker 1>estimated to have netted more than fifty million dollars in

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<v Speaker 1>its first four months. Candy Crush, by contrast, has stayed

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<v Speaker 1>remarkably popular over the past fifteen years. On public transit,

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<v Speaker 1>at sporting events, even sitting next to a couple on

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<v Speaker 1>a first date, you can still reliably catch a glimpse

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<v Speaker 1>of someone playing the game. Candy Crush has come to

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<v Speaker 1>mean thing people do on their phones, as in the

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<v Speaker 1>case of a less than flattering cultural meme about on

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<v Speaker 1>duty police officers distracted by smashing suites. David Curry, data

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<v Speaker 1>editor at analytics platform Business of Apps, estimates the game

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<v Speaker 1>had eighty one point five million monthly active users, one

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<v Speaker 1>hundred and ninety point five million installs, and in app

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<v Speaker 1>revenue of eight hundred and seventy six point five million

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<v Speaker 1>in fiscal year twenty twenty five. Swedish publisher King declined

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<v Speaker 1>to provide current internal figures. In twenty twenty three, the

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<v Speaker 1>game crossed an extraordinary threshold, with King reporting a lifetime

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<v Speaker 1>revenue milestone of twenty billion dollars and five billion installs

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<v Speaker 1>across its Candy Crush franchises, which include spin offs like

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<v Speaker 1>Soda Saga and Jelly Saga. It consistently ranks among the

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<v Speaker 1>highest grossing mobile games year after year. I've been playing

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<v Speaker 1>video games my whole life, and recently went back to

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<v Speaker 1>school to study game design, making my own small narrative games,

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<v Speaker 1>and researching what makes games of all sorts tick. When

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<v Speaker 1>Candy Crush first appeared on the scene, I was fascinated, overwhelmed,

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<v Speaker 1>and maybe even a tad squeamish about it. The app

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<v Speaker 1>seemed to feature only the barest elements of what makes

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<v Speaker 1>a game a game. It turns out that may have

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<v Speaker 1>been the secret to its success all along. King brought

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<v Speaker 1>out the initial iteration of Candy Crush on its website

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<v Speaker 1>in twenty eleven. It had released hundreds of games in

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<v Speaker 1>the decade prior drawing on player data to fine tune

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<v Speaker 1>subsequent releases. Then the social web took off. When we

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<v Speaker 1>were trying to understand how to crack Facebook, we essentially

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<v Speaker 1>started six different projects in parallel. King co founder Sebastian

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<v Speaker 1>Nutsen told CNBC in twenty twenty the company had one

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<v Speaker 1>really big dud it dispensed with shortly after launch, as

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<v Speaker 1>well as a few mediocre games that we were quite

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<v Speaker 1>happy with. The Lessons about mechanics, player retention, and level

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<v Speaker 1>design would become the blueprint for Candy Crush Saga, which

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<v Speaker 1>was also are released on mobile platforms to capture the

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<v Speaker 1>growing smartphone market. In December twenty thirteen, Candy Crush had

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<v Speaker 1>ninety three million daily active users worldwide, according to King's

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<v Speaker 1>twenty fourteen initial public offering filing. About that time, King

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<v Speaker 1>also filed and then withdrew, an application to trademark the

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<v Speaker 1>term candy in the US. Its continued popularity has much

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<v Speaker 1>to do with the near hypnotic simplicity of the gameplay.

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<v Speaker 1>Candy Crush operates according to match three mechanics, a classic

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<v Speaker 1>video game genre that evolved from games such as Tetris.

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<v Speaker 1>The goal of Candy Crush is to match enough colorful,

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<v Speaker 1>sweet shaped tiles within a limited set of moves so

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<v Speaker 1>that they blow up and vanish, thereby clearing the board

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<v Speaker 1>and progressing to the next level. The game is turn based,

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<v Speaker 1>meaning players can pick it up or put it down

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<v Speaker 1>with no consequence, unlike say, Call of Duty or the

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<v Speaker 1>Legend of Zelda, where you're required to react to whatever

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<v Speaker 1>the game throws at you in real time. That makes

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<v Speaker 1>it ideal to play while you're riding the train, or

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<v Speaker 1>hanging out on the couch or avoiding work. Players jumped

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<v Speaker 1>at the chance to discuss their candy crushing habit with

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<v Speaker 1>me the past few months. A mother of two in Florida,

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<v Speaker 1>a YouTuber in Romania, a professor in upstate New York

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<v Speaker 1>whose arthritis makes fine motor activities difficult. Unfortunately, a candy

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<v Speaker 1>crushing cop was harder to come by. Nearly all of

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<v Speaker 1>them expressed the same sentiment, unprompted they don't identify as gamers.

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<v Speaker 1>Candy crush to them is the exception to the rule

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<v Speaker 1>enticing not because of its similarities to the other bits

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<v Speaker 1>of culture they consume, but because of its differences what

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<v Speaker 1>it offers in opposition to books or movies or social media. Shurikei,

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<v Speaker 1>the former Time traveler, describes the game's draw as providing

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<v Speaker 1>a feeling of satisfaction for having completed a task. My

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<v Speaker 1>background is in speech pathology, and so a lot of

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<v Speaker 1>my work has been with humans, she says. There was

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<v Speaker 1>never a component of my job where I could look

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<v Speaker 1>at a list and be like, yep, check finished. So

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<v Speaker 1>I love you accomplish a level in Candy Crush and

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<v Speaker 1>it's like awesome, on to the next. It's a unique

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<v Speaker 1>pleasure that way. That's not how it feels to scroll

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<v Speaker 1>Instagram or TikTok, those bottomless, frictionless maws. This reflects King's

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<v Speaker 1>intentions the game fits flexibly into the gaps in people's days.

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<v Speaker 1>Paula Ingvar, the general manager for Candy Crush Saga, wrote

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<v Speaker 1>in an email to Bloomberg BusinessWeek, noting the game's ability

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<v Speaker 1>to produce the satisfaction of making progress with small wins.

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<v Speaker 1>Another aspect of the game's allure is how free of

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<v Speaker 1>cultural context it is. It's distinctively non place based, non gendered,

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<v Speaker 1>non racialized, says David Neeborg, a professor of Media and

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<v Speaker 1>Platform Studies at the University of Toronto, who researches Candy

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<v Speaker 1>Crush and games like it, The appeal can be so

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<v Speaker 1>broad you can have somebody playing on the subway in

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<v Speaker 1>sount Ballow, but also in Tokyo or in Lagos. Just

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<v Speaker 1>because Candy Crush seems simple doesn't mean it was easy

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<v Speaker 1>to develop. Making a game feel organic and intuitive is

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<v Speaker 1>surprisingly complicated, the result of thousands of failed experiments and

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<v Speaker 1>exceptional design. This is particularly true if the goal is

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<v Speaker 1>to have a wide breadth of players, many of whom

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<v Speaker 1>might not ever have played a digital game before return

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<v Speaker 1>day after day, and ideally spend money. Candy Crush helped

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<v Speaker 1>popularize the now ubiquitous freemium model, in which players download

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<v Speaker 1>a game free of charge and pay for add ons

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<v Speaker 1>to make beating levels easier. Gold Bars candy crushes in

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<v Speaker 1>game currency, can be purchased in packs of ten for

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<v Speaker 1>a dollar ninety nine or fifty for seven dollars in

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<v Speaker 1>ninety nine cents. An extra life runs you four of

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<v Speaker 1>those gold bars, while sets of additional moves start at

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<v Speaker 1>ten bars. According to trend intelligence firm Quantum Run, only

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<v Speaker 1>about four percent of players ever spend money in the game,

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<v Speaker 1>so the in app revenue numbers come from a small

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<v Speaker 1>pool of users. You want to have many players, and

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<v Speaker 1>you want to have people playing habitually. Kneeborg said, that's

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<v Speaker 1>an important game design mechanic. In other words, the gameplay

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<v Speaker 1>of Candy Crush is fashioned to supply a fine tuned

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<v Speaker 1>degree of difficulty to ensure players keep playing Too easy

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<v Speaker 1>and it becomes rote devoid of dopamine, delivering novelty. Too

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<v Speaker 1>tough and you might quit in frustration. Achieving this balance

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<v Speaker 1>has kept King on relatively solid footing through two major acquisitions.

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<v Speaker 1>Gaming giant Activision Blizzard bought the studio for five point

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<v Speaker 1>nine billion dollars in twenty sixteen. Then Microsoft bought Activision

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<v Speaker 1>Blizzard for sixty eight point seven billion dollars in twenty

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<v Speaker 1>twenty three. Along with Minecraft studio Mojang, King is now

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<v Speaker 1>situated under Microsoft's struggling Xbox division. Both studios have increasingly

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<v Speaker 1>become platforms and are our largest bi monthly active players.

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<v Speaker 1>Xbox Chief executive Officer Asha Sharma said in a statement

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<v Speaker 1>announcing a corporate restructuring on July sixth. Still, King laid

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<v Speaker 1>off two hundred employees in July twenty twenty five, and

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<v Speaker 1>more Xbox layoffs are on the Horizon. King continues to

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<v Speaker 1>play an important role in Xbox's strategy, the company said

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<v Speaker 1>in a statement to BusinessWeek, especially as mobile is two

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<v Speaker 1>thirds of the market and where the next generation plays.

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<v Speaker 1>Candy Crush Saga remains King's golden goose, and under activision,

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<v Speaker 1>the company has prioritized its older titles more heavily, says

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<v Speaker 1>Curry from Business of Apps. Even with increased competition, it

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<v Speaker 1>remains a popular title that many gravitate towards, especially older users.

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<v Speaker 1>On Reddit and the official King community forum, players compare

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<v Speaker 1>progress in thoughts on the game. One consistent complaint is

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<v Speaker 1>the perceived imbalance between strategy, randomness, and payment. Some longtime

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<v Speaker 1>players maintain that later levels are made overly difficult on purpose,

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<v Speaker 1>impossible to solve without additional moves or boosters. Such bonuses

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<v Speaker 1>can be gained through in game challenges or by watching ads,

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<v Speaker 1>but players argue that by far the easiest path is

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<v Speaker 1>to buy them, resulting in a feeling of pay to

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<v Speaker 1>win that belies actual skill. We don't design levels to

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<v Speaker 1>push people into making purchases. Ingvar wrote challenge is part

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<v Speaker 1>of what has kept Candy Crush engaging for nearly fifteen years,

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<v Speaker 1>but challenge and fairness are different. She also noted King

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<v Speaker 1>continually tests and rebalances its games, listening closely to player feedback.

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<v Speaker 1>When I picked up Candy Crush again this summer, it

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<v Speaker 1>felt as though I was playing two games simultaneously. There

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<v Speaker 1>was the surface level one, matching colors and clearing as

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<v Speaker 1>many levels as possible, and a sort of meta one.

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<v Speaker 1>I wanted to see how far I could get without

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<v Speaker 1>straying from the base gameplay, without relying on extra lives

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<v Speaker 1>or moves. The first few dozen levels were a breeze,

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<v Speaker 1>presumably as I was onboarded as a new player. I

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<v Speaker 1>found it easy to enter a gentle fugue state of swipes,

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<v Speaker 1>explosions and victorious micro vibrations emanating from my phone. Then

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<v Speaker 1>came periodic spikes and difficulty that made ignoring those upgrades

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<v Speaker 1>more difficult. I could only get so far on my

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<v Speaker 1>own unpracticed steam, which actually made me want to try

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<v Speaker 1>even harder. Candy Crush Saga now features twenty three thousand

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<v Speaker 1>plus levels, with dozens more added each week. King hosts

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<v Speaker 1>an annual tournament called Candy Crush All Stars, which this

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<v Speaker 1>year culminated in a live finale in London. And one

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<v Speaker 1>million dollars in prize money. You can watch a highlight

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<v Speaker 1>reel of contestants who qualified remotely at events played by millions.

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<v Speaker 1>Many of these hopefuls are players who've reached what the

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<v Speaker 1>company calls end of content, clearing all available levels. The

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<v Speaker 1>finalists seem earnest and a little nerdy wholesome in a

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<v Speaker 1>way that aligns with the cheery game. At one point,

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<v Speaker 1>a contestant is bleeped out, seemingly for saying holy crap.

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<v Speaker 1>The competition looks intimate and ritualistic, even when surrounded by

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<v Speaker 1>the trappings of a larger than live game show. The

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<v Speaker 1>players hunch over their phones, their faces locked in swiping

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<v Speaker 1>in their well practiced choreography. Just like watching the utuboe

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<v Speaker 1>who create content about Candy Crush, you get the impression

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<v Speaker 1>that their tactics are less about making second to second

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<v Speaker 1>moves and more about the thirty thousand foot view at

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<v Speaker 1>which all patterns become legible. There are, also, perhaps inevitably,

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<v Speaker 1>Candy Crush ASMR videos that bypass the logic centers of

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<v Speaker 1>the brain entirely. The point of Candy Crush isn't to

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<v Speaker 1>ever finish it. It's to stay there. Forever in that

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<v Speaker 1>bright and soothing world, swiping your finger across the screen

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<v Speaker 1>in pursuit of the next surge of satisfaction. Fifteen years

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<v Speaker 1>from now, who's to say we won't all still be

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<v Speaker 1>crushing candies.