Brawl Stars and Supercell launched IN BRAWL, YOU CAN in the United States in October 2025, a film campaign from Mischief directed by Tom Kuntz celebrating
ARCHIVEBrawl Stars Rewrites the Rules of Gaming Freedom in 2025
IN BRAWL, YOU CAN is a film campaign created by Supercell for Brawl Stars, launched in the United States in October 2025 through agency Mischief, positioning the mobile game as a consequence-free arena where players can attempt feats and scenarios impossible or inadvisable in ordinary life.
The campaign's central proposition is built on a single, elastic question: what can you do in Brawl Stars that you probably cannot do anywhere else? That question gives the creative platform room to move across comedy, action, and absurdist fantasy — the registers most native to the game's audience. Published in the United States and distributed primarily through YouTube, the campaign comprises one film asset that had recorded approximately 5,580,331 views, 84,318 likes, and 3,407 comments as of the Clapboard archive snapshot. Those numbers reflect meaningful organic traction for a mid-length gaming brand film in a content environment crowded with short-form video.
Supercell describes Brawl Stars as its fastest-growing mobile game globally in 2025, according to esportsadvocate.net, which frames the timing of the campaign as a momentum play rather than a rescue operation. The brand is not chasing relevance — it is consolidating a growth position. By adopting a playful and slightly provocative creative stance, Mischief and Supercell invite existing players to celebrate what the game uniquely offers while simultaneously signalling to curious outsiders that Brawl Stars is a space genuinely unlike everyday experience. The campaign carries a Clapboard Score of 74 out of 100, reflecting strong creative coherence and demonstrable platform engagement against a backdrop of limited independently verified performance data.
ARCHIVEBrawl Stars draws on a consumer insight shared across the gaming category. Players seek experiences that suspend ordinary consequence — environments where the physics, the stakes, and the social rules of real life do not apply. That insight is not new to gaming advertising, but IN BRAWL, YOU CAN executes it with a specificity that avoids the generic empowerment language common across the category.
In the United States, the mobile gaming market sits within a global industry generating revenue that multiple research firms characterise as comfortably above one hundred billion dollars annually, though estimates vary significantly by methodology. According to Grand View Research, the global mobile gaming market is projected to grow at a compound annual growth rate that reflects sustained expansion through the mid-2020s, with the United States and China together accounting for approximately 59% of revenue across the top thirty mobile-game markets, according to allcorrectgames.com. That concentration makes the US market both the highest-value target for a campaign like this and the most contested ground.
Brawl Stars competes most directly in the mobile action and battle-arena segment, where competitors including Tencent Games — which holds an estimated 12 to 18 percent of global mobile-game market share, according to marketintelo.com — and Activision Blizzard's King division command substantial audience and spending. Against those competitors, Supercell's strategic choice to frame Brawl Stars as a freedom space rather than a feature catalogue is deliberate. Feature-led advertising commoditises the product. Freedom-led advertising builds a brand identity that outlasts any individual game mode or character update. Mischief's platform for the campaign gives Supercell a durable creative territory it can occupy across markets and across years, not just a single execution tied to a product moment.
Director Tom Kuntz leads the production of IN BRAWL, YOU CAN, bringing to the campaign a sensibility well-suited to the tonal balance the brief demands — broad enough to land with a mass audience, specific enough to feel credible to players already inside the Brawl Stars community. Kuntz's involvement signals a production ambition that exceeds the typical social-first gaming ad, treating the film as a piece of craft rather than a content asset built for rapid throughput.
The creative execution by agency Mischief, also identified in campaign documentation as Mischief at No Fixed Address, translates the campaign's central question — what can you do in Brawl that you maybe cannot in real life — into a series of scenarios that contrast game-world possibility with real-world limitation. The comedic register keeps the proposition accessible while the specificity of the Brawl Stars world keeps it honest. This is not generic gaming advertising invoking vague notions of heroism; it is advertising rooted in the particular logic of one game.
The campaign also carried international production detail. Voice actor Shin Na-ri contributed to the Korean localization of the campaign, and was quoted in Chosun Daily on October 29, 2025, as saying she felt the production team's affection for the game and was happy to be part of promoting something loved by many. Translator and localization copy contributor Hwang Seok-hee, also documented in the production credits per Biz Chosun, worked on adapting the phrase IN BRAWL, YOU CAN across languages, reflecting the campaign's global-platform ambition beyond its United States origin market. The film was distributed across video platforms, social channels, and out-of-home markets, according to Clapboard campaign documentation.
The campaign's YouTube performance provides the most concrete publicly available signal of audience response. As of the Clapboard archive snapshot, IN BRAWL, YOU CAN had accumulated approximately 5,580,331 views, 84,318 likes, and 3,407 comments on YouTube. The likes-to-views ratio — approximately 1.5 percent — sits above the platform average for brand content in the gaming category, where passive consumption typically outpaces active engagement. The comment volume, while modest in absolute terms, indicates that the content generated enough genuine response to prompt viewers to write rather than simply scroll past.
No independently verified paid media spend figures, conversion data, or app-install attribution numbers for the campaign are publicly available. What the raw YouTube figures confirm is that the film achieved meaningful reach and a level of active engagement consistent with content that resonates rather than merely registers. For a brand positioned as the fastest-growing mobile game globally in 2025, according to esportsadvocate.net, this campaign functions as a brand-building instrument operating alongside the game's existing growth trajectory rather than as a direct-response vehicle.
Structurally, IN BRAWL, YOU CAN benefits from a proposition that is both sticky and extensible. The creative platform does not exhaust itself in a single execution — it invites sequels, adaptations, and localizations, as the Korean production credits demonstrate. That structural durability is itself a performance indicator, suggesting the campaign was designed to compound value over time rather than spike and fade. The Clapboard Score of 74 out of 100 reflects that balance: strong creative coherence and demonstrated engagement, with room to grow as independent performance data accumulates.
IN BRAWL, YOU CAN is a film campaign created by Mischief for Brawl Stars and Supercell, published in the United States in October 2025. It positions the mobile game as a space where players can attempt feats impossible in real life, using a playful, comedic film directed by Tom Kuntz and distributed primarily on YouTube.
Tom Kuntz directed IN BRAWL, YOU CAN. Kuntz led production for the campaign created by agency Mischief for Supercell's Brawl Stars, bringing a craft-first approach to a film distributed across YouTube, social platforms, and out-of-home markets in the United States and internationally in October 2025.
The campaign recorded approximately 5,580,331 views, 84,318 likes, and 3,407 comments on YouTube, according to the Clapboard archive snapshot. The likes-to-views ratio exceeded typical brand content benchmarks for the gaming category, indicating active audience engagement rather than passive consumption of the Brawl Stars film.
Mischief, also identified as Mischief at No Fixed Address, created IN BRAWL, YOU CAN for Supercell's Brawl Stars brand. The agency developed the campaign's central proposition contrasting in-game freedom with real-life limitation, publishing the film in the United States in October 2025 with director Tom Kuntz leading production.
Brawl Stars is described as Supercell's fastest-growing mobile game globally in 2025, according to esportsadvocate.net. The United States remains one of the most valuable mobile gaming markets globally, with the US and China together representing approximately 59% of revenue across the top thirty mobile-game markets, according to allcorrectgames.com.
IN BRAWL, YOU CAN received a Clapboard Score of 74 out of 100. The score reflects the campaign's strong creative coherence and demonstrated YouTube engagement, recognising the clarity of Mischief's strategic platform for Brawl Stars and Supercell while acknowledging limited independently verified performance data beyond the film's public view count.
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