Step behind the scenes of Supercell’s latest Clash Royale campaign and discover a creative process that stepped off the screen and straight into the real world. Creative Louie Wood from Waste Creative reveals how his team ventured beyond traditional animation techniques, trading pixels for puppets to introduce the mischievous Goblin Queen and her trusty hype-goblin to millions of eager players.
In this interview, Wood shares how the spark of inspiration led to a playful on-set atmosphere, a handcrafted goblin puppet, and a full-hearted embrace of comedy—all culminating in a fresh, unforgettable way to announce a major update to one of gaming’s biggest franchises.
What was the brief?
Supercell, the legendary gaming company behind Clash Royale, had a new game update to promote: 'Goblin Queen’s Journey'. The new update introduced a new game mode, adding a fresh layer of strategy and excitement for players. To effectively promote this significant update, Supercell needed a campaign that would capture the imagination of its diverse player base and stand out in a crowded market.
Clash Royale were creating a new ‘King Tower Troop’ for the first time since its development, and we were tasked to announce The Goblin Queen’s arrival to the community in a big way.
How did the initial pitch/brainstorming phase go?
We often work collaboratively with Clash Royale and their team of community managers, and this brief was no different. Together, we developed the takeover storyline and decided that the ringleader and Goblin Queen’s ‘hype-person’ should be a Goblin puppet.
What was the process behind ideating the concept?
We wanted to do something different, something that would stand out. So, we ditched the usual 2D and 3D animations and dove into the world of puppetry.
What was the production process like?
We quickly compiled an incredible team of passionate artists specialising in puppetry, from performers, to builders, and directors. Collaborating with this team was a pleasure from inception to execution.
What was the biggest challenge during production? How did you overcome it?
With a cheeky Goblin puppet on set and a crew whose maturity matched its own, our biggest challenge quickly became keeping on schedule, with ad-libbed jokes being a part of every take.
What is one funny or notable thing that happened during production?
The most wonderful part of the day was the time we set aside to create ‘outtakes’. We let the crew loose with the puppet and the fancy dress box, and let the lines of comedy and funky accents flow.
What’s the main message of this project and why does it matter?
The Goblins are one of the most popular troops for a reason - their selfish nature is superseded by their overwhelming sense of fun. When used as it is in this campaign, it not only brings that fun to those in-game, it brings it into the real world too. It’s part of the reason why the medium and the message of this campaign was so successful.
How long did it take from inception to delivery?
We had a speedy turnaround of two months!
Can you describe the creative spark or inspiration behind the initial concept? Was there a specific moment or insight that ignited the idea?
The idea was really born out of necessity, Clash Royale were without a community manager and needed a stand in. A Clash Royale Goblin is the perfect character to puppeteer, so much of his performance is in nailing the physical comedy, paring his exaggerative and aggressive nature with his now plush, and cuddly appearance.
How did you ensure that the concept aligned with the brand's values, goals, and target audience?
The creative team know the Clash Royale characters inside and out so it was easy for us to establish the tone in the script for the puppet.
Were there any alternative concepts or ideas considered during the ideation phase? If so, what led to the selection of the final concept?
Once we’d established the medium and the motive behind the Goblin Puppet, we developed his character. We initially scripted a Muppet-Style musical performance, but the song and dance was a step too far. Instead, we theorised the Goblin puppet as a community manager stand in, with an ulterior motive, to help the Goblin Queen usurp the CR throne… and make karaoke free forever!
Can you discuss any collaborative or interdisciplinary aspects of the ideation process, such as working with other departments or external partners?
I must give a shout out to a member of the puppeterring production team who spent the weekend prior to the shoot, sewing a one-of-a-kind Blue King cuddly toy, with a removable head. This tiny detail seemed out of scope in our timeline, but such was the artistic ability of our crew that they were able to pull this off, get the likeness signed off by Supercell and featured prominently in the campaign’s teaser video.
Can you discuss any unique or unconventional production techniques or approaches used to bring the idea to life?
Making this campaign pop was all about blending creativity with technical know-how. We teamed up with puppeteer Chris Barlow and assistant puppeteer Emily Booth to bring the Goblin to life. Directors Iestyn Evans and Andy Heath of Talk to the Hand helped us nail the comedic timing and visual style.
How did you ensure that the concept remained innovative and stood out in a crowded marketplace?
Just look at the puppet! Who wouldn’t love this cheeky lil guy. We knew it would appeal to the CR Community, because whilst being a friendly-looking puppet he also has an edgy, mature, dry wit about him!
What do you hope it achieves for the brand?
We will continue to collaborate with the Clash Royale team on projects that make the game and its characters a household name.
Credit list for the work?
Sam Moore (Account Manager), Evelyn Ivey (Account Director), Tasmin Lobley (Associate Creative Director), Louie Wood (Mid-Weight Copywriter), James Trimming (Head of Production), Jake Varney and Tasha Jones (Project Managers), Ell Jeffrey (Senior Designer), Ryan Walker and Ben Sayer (Motion Designers), Chris Barlow (Puppeteer), Iestyn Evans (Director) and more.