Century Games UA Playbook 2026: One Publisher, Three Titles, and a Playable-vs-Video Verdict That Reverses Between Them

Century Games Pte. Ltd. runs three titles inside the US top 160. Across all three, 45 measurable ad entries account for 3,165,064,079 impressions and 33,122,719 placements in the 30 days to 2026-08-19, and 43 of the 45 were still live on that date.

The number that makes this portfolio worth reading is a comparison the publisher runs against itself. In Whiteout Survival, playables convert placements into impressions more densely than video — 126.0 against 120.7. In ملوك البقاء the verdict flips: video wins by 1.28x. In Tasty Travels it flips harder: 1.37x.

Same company. Same buying team. Same country. Same day. Three different answers to "is the playable or the video the better delivery vehicle."

And the portfolio-level average — 96.4 for playables against 89.8 for video, a tidy-looking 1.07x — describes none of the three titles. It is the average of an inversion, which is the least useful number in the dataset and exactly the kind of figure that gets quoted as a format benchmark.

#Executive summary (TL;DR)

• Three titles, one company ID. Whiteout Survival (6443575749), ملوك البقاء (6739554056) and Tasty Travels: Merge Game (6471045672) all sit under AdMapix company ID 132871311. Combined US downloads: 1,896,179.
• The portfolio is heavily concentrated. Whiteout Survival holds 64.63% of the portfolio's 30-day impressions, ملوك البقاء 24.04%, Tasty Travels 11.32%. Two entries alone are 54.2% of all three titles combined.
• Almost nothing is retired. 43 of 45 creatives were live on the pull date. The two exceptions are both videos, both from the most playable-heavy title, and both stopped on the same day, 2026-08-17.
• The playable ratio is a per-title decision, not a house style. Playables carry 96.0% of Whiteout Survival, 77.1% of Tasty Travels, 70.1% of ملوك البقاء.
• And the density direction inverts between titles. In Whiteout Survival playables out-deliver video per placement (126.0 vs 120.7). In the other two, video wins — by 1.28x and 1.37x. Century does not run one doctrine across its portfolio.
• Delivery density scales with title size. Fleet impressions per placement: 125.8 / 79.5 / 49.2, in the same order as impression volume.
• Product-level efficiency inverts the US ranking. Tasty Travels has the highest impressions per creative at 3,563,727 — from the smallest creative library of the three. ملوك البقاء has the lowest at 1,712,884. (Product-level figures come from a separate endpoint whose accumulation window is undocumented; see methodology.)
• An Arabic-titled product outranks the English flagship. ملوك البقاء sits at US download rank 123 with 670,415 downloads, ahead of Whiteout Survival at 138.

All figures are AdMapix third-party estimates for the United States, pulled 2026-08-19. Methodology and identity resolution at the end.

#The publisher at a glance

Portfolio totals: 3,165,064,079 impressions and 33,122,719 placements in the 30 days to 2026-08-19, a blended 95.6 impressions per placement across 45 entries.

Read across any row and the three titles disagree. That is the first thing worth saying about this publisher: unlike Grand Games, which runs one rigid doctrine across both its titles, Century Games appears to run each title on its own settings.

Whiteout Survival's leading creative — a playable first seen 2026-03-23, 149 days live, 933,224,293 impressions across 8,020,712 placements at 116.4 per placement. It alone is 29.5% of Century Games' entire measured US portfolio.

#Identity: three products, one company, and one that splits

All three titles resolve to Century Games Pte. Ltd., AdMapix company ID 132871311, and all three appear on the same-day US download ranking under that developer string. Their constituent product IDs:

Two details are worth flagging before any number in this article is trusted.

First, the Android package names do not describe the products. ملوك البقاء ships under com.run.tower.defense; Tasty Travels ships under com.fatmerge.global. Neither package name matches its store title, and the first would actively mislead anyone inferring genre from the bundle ID.

Second, only one of the three titles splits across company IDs in the creative data. Whiteout Survival's fifteen creatives all resolve to 6443575749 / 132871311. ملوك البقاء's fifteen all resolve to 6739554056 / 132871311. But Tasty Travels splits:

Same publisher, same portfolio, and the attribution structure differs by title. If you were tracking Century Games by company ID 132871311 alone, you would capture 100% of two titles and 17.8% of the third.

The genre taxonomy confirms the portfolio shape: Whiteout Survival and ملوك البقاء share sub-category 60202, while Tasty Travels sits in 60209 / 60223. Two titles in one sub-genre, one in another.

Store listings: Whiteout Survival, ملوك البقاء, Tasty Travels. Publisher: centurygames.com.

#Where production attention is going

An earlier version of this article ran a "delivery reallocation" metric here — each title's share of portfolio impressions-per-day against its share of cumulative impressions. That metric has been removed because it could not carry information.

The impression field is a rolling 30-day value, and 42 of these 45 entries were first seen before the window opened on 2026-07-20. For those entries the window exposure is identical, so dividing by it is dividing every title by the same constant — and a share computed that way is arithmetically identical to the impression share it was being compared against. The delta was zero by construction, not a finding. The full correction is in the methodology note at the end.

What survives are the signals that do not depend on a per-day denominator:

The newest-entry row is the cleanest of these, and it is a date, not a rate — so the window issue does not touch it. Century shipped something new into Whiteout Survival 22 days before the pull; into ملوك البقاء, 58 days; into Tasty Travels, 71. Production attention orders the three titles the same way download growth does.

That is a weaker claim than the one it replaces. It is an ordering of three items from a single observation, which could easily be coincidence, and it establishes nothing about causation. It is offered as an observation worth re-checking on the next pull, not as a result.

The retirement row is the sharper signal, and it gets its own section below: the only two assets Century switched off anywhere in this portfolio are both Whiteout Survival videos, and both stopped on the same day.

Whiteout Survival creative #2 — a playable first seen 2026-05-26, carrying 783,471,906 impressions in the 30-day window, the second-largest single entry in Century Games' US portfolio.

#Where the impressions actually sit

Portfolio concentration is severe, and it is severe at both levels.

Two creatives are 54.2% of the entire three-title portfolio. Five creatives — out of forty-five — are 77.1%.

Both of the top two are Whiteout Survival playables launched in 2026, 64 days apart. Neither existed a year ago. The rest of the portfolio, forty assets, splits the remaining 22.9%.

Per-title concentration differs in a way that matters:

Whiteout Survival is the most top-heavy at the pair level: two assets carry 83.9% of it. Tasty Travels is the most top-heavy at the single-asset level but flattens quickly afterwards. ملوك البقاء has the fattest tail — its bottom ten still deliver 17.1%.

ملوك البقاء's leading creative — a playable first seen 2025-06-08 and still live after 437 days. 320,029,477 impressions across 4,156,215 placements at 77.0 per placement, 42.1% of its title's fleet. This playable is also attached to creative #14.

ملوك البقاء creative #2 — a playable first seen 2026-01-08, live 223 days, carrying 200,168,959 impressions in the 30-day window. This single interactive file is attached to five entries in the fleet (#2, #3, #4, #7 and #9).

#The playable ratio is a per-title decision

Century Games is a playable-first publisher in aggregate: 22 of 45 creatives are pure interactive units, and they carry 87.6% of portfolio impressions against video's 12.4%.

But the ratio is not applied uniformly.

Whiteout Survival is almost purely interactive — a structure examined in detail in that title's own teardown. ملوك البقاء runs the inverse creative count: eleven videos to four playables, and yet the four playables still take 70.1% of its volume. Tasty Travels sits between them at nearly an even asset count, 7 to 8.

So the publisher-level "87.6% playable" figure is real but misleading if applied to any individual title. It is dominated by Whiteout Survival, which is 64.6% of the portfolio and 96% playable. Strip that title out and the remaining two titles run 65.4% playable share of impressions from 11 playables against 19 videos.

#The density inversion

Here is where the "one publisher, one playbook" reading breaks down completely. Compare impressions per placement for playables versus video inside each title.

In Whiteout Survival, playables deliver more densely than video. In the other two titles, video does — by 28% and 37%.

That is a genuine inversion, not a rounding artefact. And it is not explained by sample size: ملوك البقاء's eleven videos span 2,390,778 placements and Tasty Travels' eight span 1,296,924, so both video sets are well-populated.

Two readings fit:

Reading one: format performance is genre-conditional. Whiteout Survival and ملوك البقاء share sub-genre 60202, so genre alone does not explain it — but Whiteout Survival is the far larger advertiser and may have access to interactive inventory the smaller titles do not. On this reading, the playable advantage is a function of buying scale, not of the format.

Reading two: the playables are simply better in one title than the others. Whiteout Survival runs eleven interactive units against ملوك البقاء's four. A publisher with 55,108 creatives on the record for one title and 32,020 for another has had far more iterations to find a working interactive unit on the first.

The portfolio-level numbers wash the inversion out entirely — 96.4 for playables against 89.8 for video, a 1.07x gap that describes none of the three titles. This is the single best argument in the dataset against computing format benchmarks at publisher level.

ملوك البقاء creative #3 — 56 seconds, first seen 2026-01-08, 56,237,026 impressions at 101.2 per placement. It is the highest-density asset in its title's fleet, and a video — the pattern that inverts against Whiteout Survival.

A single keyframe shared across five ملوك البقاء creatives (#4, #5, #6, #10 and #15) at 59, 59, 59, 59 and 59 seconds. The title's video production reuses one visual base across near-identical runtimes.

#Delivery density scales with title size

Fleet-level impressions per placement lines up with impression volume across all three titles.

The largest title runs at 2.6x the density of the smallest. Within-portfolio, the per-creative range is far wider still: from Tasty Travels creative #15 at 14.2 to Whiteout Survival creative #6 at 275.2 — a 19.4x spread across 45 assets from one publisher.

Whiteout Survival creative #6 is the outlier worth naming. First seen 2026-07-24, only 26 days live, it recorded 49,543,401 impressions at 275.2 per placement — the highest density in the portfolio, on the second-newest asset Century has shipped. That combination, high density on a very new asset, is what the early phase of a scaling creative looks like.

One caveat specific to this entry. It is one of only three in the portfolio that opened after the 30-day window began, so its impression total covers 26 of the window's 30 days while every other entry covers all 30. Its impression figure is therefore understated relative to its peers by roughly 13%; its density is not, because impressions and placements are both scoped to the same window. The density claim stands; the volume comparison is conservative.

Whiteout Survival creative #6 — a playable first seen 2026-07-24, just 26 days live. 49,543,401 impressions at 275.2 per placement, the highest delivery density of any creative in Century Games' US portfolio.

#Retirement: 43 of 45, and the two exceptions are both video

Century Games retires almost nothing. Forty-three of forty-five creatives recorded activity on the pull date, including one Whiteout Survival playable first seen 2024-09-20 — 698 days — and a ملوك البقاء playable first seen 2025-06-08, 437 days.

The two exceptions are unusually informative:

Both are videos. Both are from Whiteout Survival — the title that is 96% playable. And both stopped on 2026-08-17, the same day, two days before the pull.

That is not attrition; that is a decision. One asset had run 95 days and one only 20, so they were not aging out on a common schedule. What they share is format and title. The most plausible read is that Century switched off video delivery on Whiteout Survival in a single action on 2026-08-17.

If that read is right, Whiteout Survival's video share is on its way from 4.0% to near zero, and the two remaining videos in that fleet — creative #5 (57s) and creative #12 (50s) — are the ones to watch on the next pull.

Whiteout Survival creative #8 — 29 seconds, first seen 2026-05-14, last seen 2026-08-17. One of only two retirements across Century Games' 45 measured creatives, and one of two videos stopped on the same day.

The portfolio's oldest asset — a Whiteout Survival playable first seen 2024-09-20 and still recording placements 698 days later, at 16,423,564 impressions and 0.8% of its title's fleet.

#Product-level efficiency inverts the US ranking

Dividing each title's global impression total by its creative count produces an ordering that contradicts the US snapshot entirely. Both figures come from the same product record, so the ratio is internally consistent even though the endpoint does not document what period it accumulates over — see the caveat below the table.

Tasty Travels is last of three on US impressions and first on impressions per creative. It has produced 15,273 creatives against Whiteout Survival's 55,108 — 28% as many — and gets 24% more out of each one.

A caveat on this table. These figures come from the unified product endpoint, which — unlike the creative search endpoint — ignores start_date and end_date entirely: we queried it unbounded, over 2026-08-07→08-19 and over 2026-07-20→08-19 and received byte-identical responses. So the accumulation window behind these totals is not documented and is not the 30-day window used everywhere else in this article. The ratio is used here only to rank the three titles against each other on a like-for-like basis, and is never combined with the US window figures.

ملوك البقاء is the reverse case and the more concerning one for Century: 32,020 creatives, nearly 60% of Whiteout Survival's output, producing 1,712,884 impressions each — the lowest of the three and 52% below Tasty Travels. It is the title absorbing the second-largest creative production budget and returning the least per asset, and it is also the title whose downloads are falling fastest at −18.92%.

One further data point, and it needs a caveat attached. The AdMapix product records include a showCost field whose unit is not defined and which should not be read as currency. On that index, ملوك البقاء records 1,536,484,679 against Whiteout Survival's 1,229,635,239 and Tasty Travels' 543,337,009 — the highest of the three, on the title with the lowest impressions per creative. We flag the inversion because it is consistent with everything else in this section, and we decline to quantify it further, because the unit is unknown.

Tasty Travels' leading creative — a playable first seen 2025-12-29, 233 days live, 201,867,243 impressions across 4,869,740 placements. At 41.5 impressions per placement it is a broad, thin asset carrying 56.3% of its title's fleet. This interactive file is attached to six creatives.

Tasty Travels creative #2 — a playable first seen 2026-06-02, 78 days live, 41,940,941 impressions at 117.9 per placement. It runs at 2.8x the density of its own title's leader.

#ملوك البقاء: an Arabic-titled product at US rank 123

The most easily overlooked fact in this portfolio is that Century Games' highest-ranking US title by downloads is Arabic-titled. ملوك البقاء records 670,415 US downloads at rank 123, ahead of Whiteout Survival's 639,939 at rank 138.

It is not a small or experimental operation. It carries 32,020 creatives on the product record — more than half of Whiteout Survival's total output — and 760,993,324 US impressions in the 30-day window across fifteen measured entries, every one of which was live on the pull date.

Its creative profile is also the most video-weighted in the portfolio:

Six of its eleven videos run exactly 59 seconds, and five of those six share a single keyframe. This is the most standardised video production in the portfolio — one visual base, one runtime, repeated.

Two observations follow, and only the first is firmly supported by the data.

Supported: Century runs a language-localised sibling title in the same sub-genre (60202) as Whiteout Survival, at comparable US download scale, with a materially different creative mix — more video, fewer playables, tighter runtime standardisation.

Not established: anything about who is being reached. A US download ranking for an Arabic-titled product is consistent with several audience hypotheses, and creative data contains no audience information at all. We note the fact and stop there.

ملوك البقاء creative #13 — 59 seconds, first seen 2026-06-22 and the newest asset in that title's fleet at 58 days. 6,024,724 impressions at 92.6 per placement.

#Century Games versus Grand Games: two publisher doctrines

Both publishers were measured on the same date, and both run multi-title US portfolios built on playables. They are structured very differently. Grand Games figures below are cited from that publisher's teardown and were not recomputed here.

Grand Games delivers 4.1x Century's impression volume from two-thirds as many creatives, and concentrates 90% of it in a single title whose oldest asset is 147 days old. It runs one doctrine everywhere: 29 of 30 creatives carry a playable end card.

Century Games is the opposite shape — older, flatter, more varied. Its oldest asset is 698 days against Grand Games' 390. Its lead title holds 64.6% rather than 90%. And its format mix, playable ratio and density ordering all change from title to title.

Neither is obviously better; they are different bets. Grand Games' model concentrates risk in one title and one doctrine, and is currently producing far more volume. Century's spreads across three titles and adapts per title — which is precisely why its portfolio average is uninformative and Grand Games' is not. A single-doctrine publisher can be described by one number; Century cannot.

Tasty Travels creative #3 — 60 seconds, first seen 2026-05-11, 24,157,294 impressions at 65.3 per placement. It is one of only three Tasty Travels creatives resolving to the iOS product ID rather than the Android package.

Tasty Travels creative #10 — 29 seconds, first seen 2025-12-30, 4,737,073 impressions at 70.8 per placement. Short video is the title's densest format at 73.6 impressions per placement across two assets.

#What transfers to your UA program

If you run portfolio-level UA: check your format benchmarks per title before you let anyone quote a house average. Century's playable-versus-video density is 0.96x in one title, 1.28x in another and 1.37x in the third — and the portfolio average of 1.07x describes none of them. If you publish a single internal number for "how playables perform for us," you are almost certainly averaging an inversion.

If you run creative production: do not compute format benchmarks at publisher level. Century's portfolio-wide playable-versus-video density is 96.4 against 89.8, a 1.07x gap that accurately describes none of its three titles — where the real ratios are 0.96x, 1.28x and 1.37x, pointing in opposite directions. A portfolio average that averages an inversion is worse than no benchmark.

If you run competitive intelligence: check whether attribution structure is consistent across a publisher's titles before you aggregate. Two of Century's three titles sit entirely under company ID 132871311; the third has 82.2% of its impressions under a different company ID. A publisher-level query on the obvious ID under-counts this portfolio by roughly 9%.

If you are competing with Century Games: the exploitable signal is the retirement event. Two videos from Whiteout Survival stopped on the same day, 2026-08-17, in a portfolio that otherwise retires nothing across 45 assets and 698 days. Coordinated shutdowns are the clearest evidence of active management in this dataset, and Whiteout Survival is where the active management is.

#A falsifiable prediction

Prediction: at least one of Whiteout Survival's two remaining videos (entries #5 and #12) will have stopped by 2026-10-15. Whiteout Survival's share of Century Games' portfolio impressions will remain at or above 60% on the next 30-day pull. And the playable-versus-video density ordering will still differ in direction between Whiteout Survival and Tasty Travels — playable ahead in the first, video ahead in the second.

The basis: on the videos, two of four Whiteout Survival videos were switched off simultaneously on 2026-08-17 in a portfolio that has retired nothing else in 45 entries and 698 days, which reads as a format decision rather than two independent expirations. On concentration, Whiteout Survival is at 64.63% with the newest entry in the portfolio and the only active retirement programme; a drop below 60% would require a substantial reallocation rather than drift. On the inversion, the two titles differ by 0.96x against 1.37x — a gap wide enough that noise in a single window is unlikely to close it, and the whole argument of this article is that it is a structural property of how each title is bought.

The informative failure is the third clause. If the inversion disappears, then it was a property of one 30-day window rather than of the two titles, and the portfolio average this article criticises would be the more honest number after all.

The informative failure is the second clause. If both remaining Whiteout Survival videos are still live on 2026-10-15, then 2026-08-17 was not a format decision and the two retirements were coincidence — which would remove the only evidence of deliberate, dated intervention anywhere in this portfolio.

#How to reproduce this teardown

1. Confirm common ownership by company ID, then check each title separately. All three titles here report the same developer string on the download chart, but only two of the three have creative data that resolves entirely to that company ID.
2. Do not build a per-day rate on top of a windowed impression field. If the impression figure is a rolling 30-day value and your assets are older than the window, dividing by days-live mixes a 30-day numerator with a 700-day denominator. Where every asset predates the window, any per-day share is arithmetically identical to the impression share and carries no information.
3. Compute impressions-per-placement separately by format, separately per title. Do not roll it up. The portfolio average here hides an inversion between titles.
4. Record the newest-creative age per title. It is the cheapest proxy for where production attention is going, and in this portfolio it ranks the titles identically to delivery share.
5. Look for same-day retirements. In a portfolio that retires nothing, two assets stopping on one date is a decision with a timestamp on it.
6. Compare product-level impressions per creative against current US volume. They disagree here — the smallest US fleet is the most efficient producer per asset — and the disagreement is where budget questions live. Check which endpoint each figure came from before combining them; they do not share a measurement window.

#Methodology and data notes

• Source: AdMapix creative search, unified product search and download ranking APIs, all queried 2026-08-19, country filter US, creatives sorted by impressions descending.
• Sample: the top 15 US ad entries by impressions for each of three unified products published by Century Games Pte. Ltd., AdMapix company ID 132871311: Whiteout Survival (6443575749, Android com.gof.global), ملوك البقاء (6739554056, Android com.run.tower.defense) and Tasty Travels: Merge Game (6471045672, Android com.fatmerge.global). Forty-five entries in total. This is a top-of-fleet view per title, not a complete inventory — the three titles carry 102,401 creatives between them on their product records.
• Attribution: Whiteout Survival's 15 creatives all resolve to 6443575749 / company 132871311. ملوك البقاء's 15 all resolve to 6739554056 / company 132871311. Tasty Travels splits: 12 creatives to com.fatmerge.global / company 1984522025 and 3 to 6471045672 / company 132871311. Every figure was checked against product ID and company ID, not app name.
• Identity resolution: several unrelated products carry similar names, including Tasty Travels: Merge Sweets (CurlyBraces), Chef Emma: Tasty Travels (505 Games) and multiple "Whiteout Survival"-referencing packages from FreeFun Kids Lab, Gems Clan and Genius Mobile Apps. None of their data appears in this article.
• "Days live" is the span between first-observed and last-observed timestamps, measured to the pull date. Forty-three creatives recorded a last-observed timestamp of 2026-08-19 and are treated as live. Whiteout Survival creatives #8 and #15 recorded 2026-08-17 and are treated as stopped.
• Measurement window. The impression field returned by this API is a rolling 30-day value, not a lifetime total. We verified this directly: a default query returns figures identical to a query bounded by start_date 2026-07-20 / end_date 2026-08-19, and shifting the start by one day changes every figure. All impression, placement and density figures in this article therefore describe the 30 days ending 2026-08-19.
• Correction: a removed metric. An earlier version of this article led with a "delivery reallocation" finding — each title's share of portfolio impressions-per-day minus its share of cumulative impressions, which appeared to rank the three titles in the same order as their download growth (+13.54 / −1.56 / −11.98 percentage points). That finding was an artefact and has been removed. Impressions-per-day was computed as windowed impressions ÷ days-since-first-seen, which divides a 30-day numerator by denominators ranging from 22 to 698 days. Recomputed correctly — dividing by the window length, which is identical for the 42 of 45 entries that predate 2026-07-20 — the per-day share becomes arithmetically identical to the impression share and the delta is zero for all three titles by construction. No conclusion in the current version of this article depends on a per-day rate.
• Entries that opened mid-window. Three of 45 entries were first seen after 2026-07-20 (Whiteout Survival, 2026-07-24 and two on 2026-07-28). Their 30-day figures cover only part of the window. They are counted in all totals and are not given per-day rates.
• "Placements" (showCnt) counts recorded creative appearances, not unique users and not unique publishers. Impressions per placement is a distribution-shape indicator, not a frequency metric, and is not comparable across formats without stating the format.
• "Format" is derived from recorded video duration. Creatives with no duration and a recorded playable URL are classified as playable units. Several playable URLs are shared across multiple creative records in all three titles.
• showCost appears in AdMapix product records with an undefined unit. It is referenced once in this article for relative comparison only and must not be read as currency or converted to spend.
• Product-level creative counts and impressions come from unified product records and are global, not US-only. The unified product endpoint ignores start_date and end_date — unbounded, 13-day and 30-day queries return byte-identical responses — so the period these totals accumulate over is undocumented and is not the 30-day window used elsewhere in this article. They are used only for cross-title comparison of production intensity and are never mixed with the US window figures.
• Grand Games comparison figures — 2 titles, 30 creatives, 13,005,383,104 impressions, 90.0% lead-title concentration, 28/30 live, 390-day oldest asset, 31.7% pure-playable share on the lead title — are cited from that publisher's teardown, pulled the same date, and were not recomputed here.
• Impressions are third-party modelled estimates, not publisher-reported figures and not spend.
• Download figures are US-region estimates for the current ranking period: ملوك البقاء at rank 123, Whiteout Survival at 138, Tasty Travels at 159.
• Store listings: Whiteout Survival · ملوك البقاء · Tasty Travels · Google Play. Publisher: centurygames.com.
• Coverage is limited to creatives observable through third-party ad monitoring.

#Frequently Asked Questions

How many ads is Century Games running in the US? Across its three charting titles, 45 measurable creatives as of 2026-08-19, totalling 3,165,064,079 impressions and 33,122,719 placements, of which 43 were still live on the pull date. Whiteout Survival accounts for 64.63% of that volume, ملوك البقاء 24.04% and Tasty Travels: Merge Game 11.32%.

Which Century Games title gets the most ad budget? Whiteout Survival, on every measure that survives scrutiny. It holds 64.63% of the portfolio's impressions in the 30 days to 2026-08-19, against 24.04% for ملوك البقاء and 11.32% for Tasty Travels. It also holds the newest entry in the portfolio at 22 days old, against 58 days for ملوك البقاء and 71 for Tasty Travels, and it is the only one of the three with any retirement activity. An earlier version of this article also cited a "daily delivery share" of 78.17%; that metric was an artefact of dividing a 30-day impression figure by each asset's full age, and has been withdrawn.

Does Century Games use playable ads? Heavily, but not uniformly. Across the portfolio 22 of 45 creatives are pure playable units carrying 87.6% of impressions. By title the share is 96.0% for Whiteout Survival, 77.1% for Tasty Travels and 70.1% for ملوك البقاء — and ملوك البقاء runs eleven videos to four playables, the inverse creative count of Whiteout Survival.

Are playables better than video for Century Games? It depends on the title, which is the point. In Whiteout Survival playables deliver 126.0 impressions per placement against video's 120.7. In ملوك البقاء video wins at 95.3 against 74.2, and in Tasty Travels video wins at 63.3 against 46.1. The portfolio-level average of 96.4 versus 89.8 describes none of the three titles and averages away an inversion.

What is Century Games' oldest ad creative? A Whiteout Survival playable first seen 2024-09-20 and still recording placements 698 days later — the second-oldest active creative measured across this teardown series, behind a 910-day Township video. It carries 16,423,564 impressions, just 0.8% of its title's fleet, and survives because Century Games retires almost nothing: 43 of 45 creatives were live on the pull date.

Has Century Games stopped running video ads on Whiteout Survival? Possibly, and the evidence has a date on it. The only two retirements in the entire 45-creative portfolio are both Whiteout Survival videos, and both stopped on 2026-08-17 despite having run for very different lengths of time — 95 days and 20 days. That pattern reads as a single format decision rather than two independent expirations. Two videos remain in that fleet; whether they survive is the check that resolves it.

Why does ملوك البقاء rank higher than Whiteout Survival in the US? On the same-day US download ranking, ملوك البقاء records 670,415 downloads at rank 123 against Whiteout Survival's 639,939 at rank 138. Both sit in the same AdMapix sub-genre (60202). However, ملوك البقاء's downloads are falling 18.92% period-over-period while Whiteout Survival's are rising 17.48%, so the ranking positions are converging. Creative data contains no audience information and cannot explain who each title is reaching.

Which Century Games title is most efficient per creative? Tasty Travels: Merge Game, on the product-level measure — 3,563,727 impressions per creative from 15,273 assets, against Whiteout Survival's 2,879,924 from 55,108 and ملوك البقاء's 1,712,884 from 32,020. That ordering is the reverse of the titles' US impression volumes: the smallest US fleet is the most efficient producer per asset. These product-level figures come from an endpoint whose accumulation window is undocumented, so they rank the titles against each other but should not be combined with the 30-day US figures.

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Data source: AdMapix third-party ad intelligence estimates, United States, retrieved 2026-08-19. Impression and download figures are modelled estimates for comparative analysis and are not publisher-reported. Figures change as new creatives enter rotation.