We've been deep in development on a few subscription-based game projects, and one of those just released via Apple Arcade: Kingdoms: Merge & Build.

Having worked with awesome client Cherrypick Games since 2017, we were thrilled to support this terrific game as well, bringing our years of narrative prowess to the table on the character concepts, narrative design, and all in-game dialogue and messaging. Our voice actors also chimed in with recordings for the intro cutscene and marketing video. Shout-out to Andy Mack and Nicole Perez for their talented help!

What we love most about this game is the quirky humor: Prince Edward is a... complicated hero. He blames others for his misdeeds, seems to care more about his golden bathtub than the welfare of his people, and keeps forgetting the name of his kingdom. But will he rise to the occasion and save his father's empire from ruin? Play the game to find out!

You can play the game for free if you're a member of Apple Arcade. Here's the official app-store description:

Enjoy a soothing merge-2 experience blended with kingdom-building gameplay in this story-rich adventure exclusive to Apple Arcade!

The kingdom needs your help! During the king's absence, a mysterious magical power destroyed the kingdom. Now it's up to Prince Edward, Desmond, Megan, and other friends to rebuild the land and restore it to its former glory. Embark on this magical adventure and unfold its mystery.

* Merge hundreds of unique items, discover new resources, use boosters, and complete tasks!

* Complete quests to progress through chapters and unlock new buildings, kingdom improvements, characters, and landmarks!

* Renovate the fallen kingdom from the old harbor and pier to the glorious castle!

* Follow the story, make new friends, and uncover the mystery!

* Participate in events, work with other players towards global goals, and get special rewards!

WWW: kingdomsarcade.com

Discord: https://discord.gg/H6RbCjQUjn

Facebook: https://www.facebook.com/arcade.kingdoms

Instagram: https://www.instagram.com/arcade.kingdoms

X (Twitter): https://twitter.com/arcade_kingdoms

And here's the promo video, voiced by our very own Nicole Perez:

We're excited to share ironSource LevelUp's latest podcast interview, with Brunette Games Founder Lisa Brunette. Highlights:

Different platform and audiences require different narratives

The first game I worked on was for the DS, and I worked on some other platform games. Those were for families and younger players.

So in the case of that first game for the DS, it was for teen girls. So that's a different audience than when I migrated over to mobile games. That became a new focus for me.

But that's a way different context than when you're in your living room with your Wii. So just taking that context into consideration every step of the way. You know, if you're dedicated to your PC, and this is your me-time, that's different. For mobile games, when I'm on the bus and I might get called for my stop, or I get my notifications coming in, it needs a different kind of storytelling.

Lessons for indie studios

Don’t let the story get in the way. I think especially those indies sometimes come to games with a novel in a drawer that they want to turn into a game. And that's usually a bad way to start. We instead start with the game and then craft a story that's integrated with it.

We don't want to turn anyone's novel into a game. That means that the story was written for passive entertainment, not for the interaction of games. So right off the bat, the first thing you want to do is make sure that your story is in service to the game.

How to write narratives for mobile games

We actually have distinct milestones that we follow on all of our projects with clients. We start with them at the concept stage, and we pitch three high-level story ideas. This is after a conversation with the client in which we understand what the main gameplay is, whether that's jigsaw puzzle or merge gameplay or match three. In our games, often that meta element is decorating or perhaps makeover, or sometimes both. And then we create a story that really attempts to bridge and merge those. 

The number one reason the player is there is to play the game. They're not passive. So we're really working on what is that story that is going to merge all those three things together in this beautiful way. And we carry that through that process with every milestone.

We want things to be very short and very punchy. And, in most cases, while there's drama and interesting conflict that has to occur otherwise it's not interesting, most of what we're writing is jokes and we're really pushing the humor and being kind of meta and fun and just giving players that opportunity to enjoy.

Listen to the full podcast at the ironSource LevelUp website.

We've had a long relationship with ironSource, now owned by Unity, with many of our writers authoring industry articles:

Who Goes There? The Importance of Writing Distinct Character Voices, by Sara Hardin

The top 5 mistakes mystery writers make - and how to avoid them, by Lisa Brunette - Lisa was top writer for LevelUp in 2022 for this piece

Punchline: How to use humor to bridge player connection, by Dexter Woltman

The power of storytelling in blockbuster casual games, by Lisa Brunette

Official ‘Family Guy’ artwork

By Dexter Woltman

In my time with Brunette Games, our team has had the exciting opportunity to work on two Family Guy titles for the well-known game publisher Jam City. One of which—Family Guy: The Quest for Stuff—still receives new content from us on a weekly basis! Written in collaboration with the writers of the hit TV show, Family Guy: The Quest for Stuff stays true to the show’s characters and often references its many iconic episodes. There’s a lot to unpack in Family Guy’s 21 seasons (and counting), and another writer may have felt the pressure of honoring a decades-long IP; but for me, it’s a dream-come-true. Long before I was a writer for the Family Guy games, I was a fan of the show.

My coworkers say I have an encyclopedic knowledge of Family Guy. It feels like I’ve been watching all my life—and really, I have been! The show recently celebrated its 24th anniversary, making it almost as old as I am. In its latest season, the show surpassed 400 episodes. It’s a milestone achievement, and I’ve watched every installment! I grew up with Peter Griffin and his family’s wacky hijinks, even if the characters haven’t actually aged.

My familiarity with Family Guy started at a young age—too young of an age, some might say. Despite its crude humor, I’ve been tuning in since I was a kid. Sure, my mom tried to stop me from watching it until I was older, but I couldn’t resist youthful rebellion, and I snuck in the occasional episode or two on cable while she was at work. Once Family Guy dropped on streaming, it was game over for my mom. My sister and I watched each episode repeatedly, and we still find ourselves frequently quoting our favorite jokes.

Years later, I began studying scriptwriting at Webster University. I developed my skills writing film, TV, radio, plays, and—most importantly—games. At Webster, I met the one-and-only Lisa Brunette when I attended her course on narrative design. In one of my TV-writing courses, I was instructed to write an original episode for an established TV show. Naturally, I chose Family Guy.

I wrote my own episode titled “The Curious Case of Peter Griffin.” Of course, my skills were less developed back then, and the episode doesn’t compare to the talented writing that comes from Fox. But it was my first attempt at capturing the characters’ voices, and it would later prove a valuable practice when our team was tasked with writing for the Family Guy mobile games. Classic character traits—like Peter’s distaste for his daughter, Meg—are all present.

In “The Curious Case of Peter Griffin,” Peter Griffin becomes a child again, and his genius baby, Stewie, works to restore him to his proper age. It has plenty of hijinks, and it’s one of my favorite pieces of writing—even if I've kept it safely hidden away in the depths of my computer until now. It also highlights the differences between writing for television versus games when I tie in gameplay elements and focus on dialogue to convey jokes rather than the complex animations regularly found in the show.

As soon as I graduated, Lisa hired me on full-time. We got the opportunity from Jam City to work on their Family Guy titles, and knowing my extensive knowledge of the show, Lisa asked me to write scripts. Never did I expect that my childhood obsession would someday be a vital part of my career! Knowing each season of the TV show inside and out has helped me craft exciting events that can tie into fan-favorite episodes, and my familiarity with the character voices is showcased in the games’ dialogue. 

But just like with the show, writing for the Family Guy games is definitely a team effort. Each of us at Brunette Games has lended a hand in shaping the exciting world of The Quest for Stuff, and in fact, all five full-time staff members have taken a turn at writing scripts. With a top-notch crew of narrative talent, we ensure each event is filled to the brim with LOL-worthy jokes. Best of all, no one gets burned out, and we always have a source of fresh ideas.

Having been tasked with the game’s narrative for three years now, Family Guy: The Quest for Stuff is one of our longest-running titles at Brunette Games. My experience with the franchise illustrates that if you’re passionate about something, you should never let it fall to the wayside. Personal hobbies may wind up tying into a career in surprising ways. And just like the characters of Family Guy never seem to grow up, I’ll never outgrow my favorite animated sitcom.

You can download Family Guy: The Quest for Stuff on the Apple App Store or Google Play.