Firefly, the team best known for the Stronghold series, has taken its next step into publishing by unveiling a new label dedicated to strategy games, called Wuselfaktory. The debut title for the imprint is Fool King, a tactical autobattler with roguelike elements created by first‑time developer Loot Donkey. The game was showcased at UKIE’s For One Night Only event earlier this year, where it was presented as a title in which players assemble and position their forces before the combat resolves automatically, allowing the strategic decisions to play out without direct micromanagement.
Nick Tannahill, studio head at Firefly, tells GamesIndustry.biz that the decision to add publishing to the studio’s portfolio is “like every other indie developer at the moment,” but he believes Firefly’s deep experience in the strategy niche gives it a distinct advantage. While veteran publishers such as Paradox Interactive and newer entrants like Hooded Horse have already proven the profitability of the genre, Wuselfaktory will start with modest ambitions, focusing on a limited number of releases and a tighter scope than the large‑scale grand strategy titles that dominate the space. For Fool King, Firefly is providing both financial backing and marketing support.
Devolver, the parent company, has assigned a producer to assist with localisation and quality assurance, but Tannahill says the studio plans to bring those responsibilities in‑house as its team of roughly fifty staff members grows. “We already have a small publishing unit, which is why we can do this,” he explains.
Firefly has been self‑publishing since 2010, so it already runs its own localisation pipelines, marketing campaigns, and relationships with platform holders. Those existing processes, combined with decades of experience crafting strategy titles, mean the studio can also lend development assistance to its partners. “The real benefit of being a publisher is that you’ve sat on the other side of the table during negotiations and you understand the ecosystem, so you can help developers with actual development work,” Tannahill notes.
In practice, this has meant that Firefly’s team has been consulting with Loot Donkey on UI design, offering multiple rounds of feedback on the core game, and providing guidance on the online, asynchronous battler component that defines Fool King. While these interactions take time away from internal projects, Tannahill argues that a single hour‑long call can dramatically accelerate a partner’s progress and smooth out potential roadblocks. The move into publishing was encouraged by Devolver, which recognized its own limited expertise in the lucrative strategy market. “We were bought by Devolver in late 2021, and they basically said, ‘You know strategy, we don’t.
Why don’t you fill that gap?’” Tannahill recalls. The studio’s constant monitoring of emerging strategy titles also positioned it well to spot promising projects—he even discovered Fool King after reading a Rock Paper Shotgun article. Tannahill admits he plays many smaller strategy games for inspiration, browsing Steam, itch.io, and other platforms to keep his creative muscles flexed.
“When I see these indie gems, I think they could benefit from funding, guidance, or partnership if they want it,” he says. Devolver is comfortable handing Firefly the reins on sourcing and marketing because the studio knows the strategy community inside‑out. “They don’t really know the strategy space, so they trust us with press contacts, content creators, and the various sub‑genre communities,” Tannahill adds, emphasizing that speaking the language of strategy players is essential. To stay close to its audience, Firefly embeds surveys directly into its demos, asking players how much they would pay, which features they want, and what future games they’d like to see.
The studio receives roughly 6,000 responses per survey, providing a robust data set that informs both development and publishing decisions. The feedback has revealed a surprisingly young demographic: a significant portion of the audience falls between 18 and 25 years old. Consequently, Firefly tailors its outreach to the platforms and social channels where younger gamers congregate, aiming to funnel fresh players into its IPs and series.
Tannahill views the strategy genre as both massive and under‑served. He points out that many of the top‑wishlisted games on Steam are strategy titles, yet classic franchises like Command & Conquer have faded from the mainstream not because the IP lacks appeal, but because new entries have been scarce.
This gap represents an opportunity, especially as higher‑profile genres encounter headwinds. “It’s not sexy anymore, but it’s quietly one of the most successful genres on Steam,” he says, noting that deep, systems‑driven games attract players who enjoy long, thoughtful sessions and emergent gameplay. Firefly’s own development slate reflects this diversity.
The studio continues to produce 2.5‑D isometric games reminiscent of early Command & Conquer and Age of Empires, while also working on fully 3D projects like Stronghold 4. The resurgence of pixel‑perfect, isometric visuals is currently in vogue, but Tannahill cautions against putting all eggs in one basket, preferring a balanced portfolio that can adapt to shifting trends. Wuselfaktory’s launch currently represents a single “egg” in that basket—Fool King—but the label is intended to grow gradually.
Since joining Devolver, Firefly has shipped four games and six expansions, with more titles in development. Third‑party publishing remains part of the long‑term vision, but the studio acknowledges its capacity limits. “We won’t announce a publishing label and then have three titles ready immediately because we can only spin so many plates,” Tannahill explains.
The initial focus will be on smaller projects that fit the studio’s size and sustainable workflow. In summary, Firefly’s entry into publishing leverages its long‑standing strategy pedigree, existing self‑publishing infrastructure, and close ties to a youthful, engaged community. By offering financial support, marketing muscle, and hands‑on development assistance, the studio aims to nurture promising indie titles like Fool King while expanding its own reach within one of Steam’s most profitable yet understated genres.