Top Lords Ads: How a Single Ad Creative Reached 106 Markets
Top Lords runs 1,325 ad plans with 84% on Meta and one bridge-runner template re-cut with localized end cards across 106 markets. Here is what the data shows.
Daniel Brooks
Creative Strategy Analyst
Published
Updated
Three months into its Google Play life, Top Lords is running 1,325 ad plans with 84% of them on Meta — and almost every video creative in the account is the same bridge-running template, re-cut with a different language end card for each market it wants.
Key takeaways
- Top Lords (GAME SPARK) is a three-month-old castle-progression strategy title that has scaled fast: the Google Play page has moved into the 1M+ install bracket, and one store-intelligence service estimates roughly 1.3M cumulative installs with about 990K added in the last 30 days — alongside 1,325 tracked plans in a single 30-day window.
- The channel bet is nearly single-handed: Facebook covers 84.15% of plans, the other three Meta surfaces 79.02% each, while Admob (9.74%), Applovin (6.11%) and YouTube (0.75%) are rounding errors.
- The US is the only market with a real exclusivity pool (100 US-only plans); the other high-coverage markets — Germany, France, Canada, the UK and Australia — carry three or fewer exclusive plans each.
- The creative library is the story: 45% of window creatives are reinvested cuts, the video pool is 96% portrait, and the highest-exposure material resolves into one bridge-runner template whose variants differ mainly by end-card language — English, Korean and Chinese store cards on the same footage.
Data scope
All delivery figures come from CreativeScope and describe Top Lords between August 21 and September 20, 2026. Counts describe tracked ad plans and creatives — not spend, installs or conversions. Download, launch-date and ranking references come from public store-intelligence services and are labeled as estimates. CreativeScope’s own 180-day record for the game shows 1,080 creatives, so 60% of its tracked creative history sits inside this one window — the account is accelerating, not coasting.
On identity: the store lists the game as offered by GAME SPARK (GAME SPARK PTE. LTD.), a Singapore-registered entity that store-intelligence services also credit as the developer — publisher and studio point at the same team here, so nothing in this breakdown should be read as a large-publisher portfolio story.
A castle runner with a storefront promise
Top Lords sells itself on its store page as a swipe-to-conquer kingdom builder: “Rise to the Throne with just a Few Taps”, griffins, fiefs, vassals. The ads take that promise literally. Where most strategy titles advertise their meta-game, this library advertises the entry loop — a blue army sprinting down a bridge, collecting gates, and slamming into a red horde — the same mini-game loop that the store listing itself leads with (“Simple Swipes, Endless Victories”).
The timing matters. Store records put the Google Play release in June 2026 — roughly three months before this window — and store-intelligence estimates show the curve steepening through August and September, with the 30-day install estimate (~990K) approaching the cumulative total (~1.3M). In other words: the scale we see in CreativeScope’s 30-day window is the scaling phase itself, not the afterglow of a launch spike.
Delivery cadence: weekly pulses, not daily noise
Compared with the plan machines that mint creatives daily, Top Lords runs a tighter, weekly rhythm. Seven activity days stand out in the window:
| Activity day | New creatives | New ad plans |
|---|---|---|
| Sep 7 | 58 | 84 |
| Sep 3 | 41 | 87 |
| Aug 31 | 32 | 80 |
| Sep 14 | 39 | 57 |
| Aug 21 | 24 | 67 |
| Sep 16 | 31 | 53 |
| Sep 10 | 19 | 37 |
Each pulse pairs new creative with roughly twice as many new plans — one new cut tends to seed two new plans, the signature of a template being split into audience- or placement-specific variants rather than original production. That reading is confirmed by the reinvestment count: 293 of the 650 window creatives (45%) are flagged as reinvested, a reuse rate few scaling accounts sustain. Top Lords is not trying to out-produce its competitors; it is trying to exhaust one good template.
Channel structure: 84% on Facebook, and nobody else matters
Plan coverage across the window’s eight active delivery surfaces:
Overlapping plan-target coverage; shares do not sum to 100%. All five Meta-owned surfaces appear in the top five coverage slots.
The gap between surface one and surface six is the whole story: Facebook at 84.15%, then nothing above 10% until Admob. Where accounts like Last Asylum: Plague spread across eleven networks with real open-web volume, Top Lords treats the Meta ecosystem — feed, Reels, Audience Network inventory, Threads, Messenger — as one integrated buy and leaves the rest of the open web to leftovers. The exception proves the discipline: Applovin covers just 81 plans, yet the highest-exposure video cuts in the window run there, suggesting the network is used for targeted exposure tests rather than scale.
One exclusive pool, everyone else riding along
The plan map touches 106 markets, but the coverage curve is a long, flat slope — and the exclusivity curve is a cliff:
Bar length is scaled to the US exclusive count (100). Coverage is multi-attribution and overlapping; “exclusive” means the plan’s delivery-country set equals that single market.
Forty percent of US-covering plans are US-only — the one place where this account pays the premium for single-market control. Everyone else rides along: Germany, the second-largest coverage pool at 198 plans, gets three exclusive plans, and the rest of the European block gets zero. Even Japan and Brazil — the two markets where one store-intelligence service reports top Strategy rankings for the app — receive no dedicated lines in this window. The structure reads as one global Meta machine with a single US side-channel, which keeps account management trivial: one template, one auction, one market tested in isolation.
The video library: one template, many end cards
Of the 650 creatives in the window, roughly 471 (72%) are video, and the video pool is overwhelmingly single-shape: 453 portrait cuts against 18 landscape — 96% to 4%. The handful of landscape cuts live almost entirely on Admob and YouTube, with Japan the most common market on their target lists; everything Meta carries is portrait.
Watch the top of the exposure ranking and a pattern emerges that the raw counts understate. The three highest-exposure cuts — all Applovin, all portrait, all 36–58 seconds — are the same bridge-runner template with different enemy waves, gate math and boss skins. On Meta, the same footage reappears with localized end cards: the Korean cut closes on a Korean-language store card, and Admob carries a Chinese-market variant of a cut that Applovin runs with an English card. Meta’s own copy layer confirms the intent — one tracked cut ships with the line “No bait. No Switch. The gates you saw in the ads are the gates you play”, an anti-fake-ad promise aimed squarely at a genre full of misleading runners.
Creative Spotlight: five cuts that define the account
The five creatives below span the account’s three exposure lanes: the Applovin test bench that holds the highest-exposure originals, the Meta surfaces that carry localized variants, and the template logic that ties them together.
Spotlight 1 — The original bridge run (highest exposure, Applovin)
Hook (0:00–0:05). A single blue soldier stands at the foot of a stone bridge; ahead, a red horde pours down the center lane flanked by +1 and +99 gates on both rails. The math of the whole ad is visible in the first frame: grow fast, or die.
Body (0:11–0:35). At 0:11 the runner smashes a +1 gate in a burst of coins and the blue column visibly thickens; by 0:23 a horned knight boss blocks the bridge at 159 health and the army grinds him down. At 0:35 a sword-rain power fires into the horde as the counter hits 585.
End sequence (0:46–0:58). A final boss falls at 133 health, then the cut lands on the Top Lords store card with a ×7 / −5 multiplier graphic and both store badges.
Takeaway. This is the account’s master cut — the longest, the most-exposed, and the version every variant traces back to. Running it on Applovin rather than Meta suggests the network doubles as the template’s test bench before Meta scales the winners.
Spotlight 2 — The knight-wall variant (Applovin)
Hook (0:00–0:04). Same bridge, same lone runner — but the horde ahead burns gold instead of red, signaling a different reward structure before the first gate breaks.
Body (0:07–0:29). At 0:07 the army melts through a golden gate stack and doubles in rows; at 0:21 a boss with a 140-health bar shatters under a spear volley; by 0:29 a red armored champion at 92 health takes the full weight of the grown army.
End sequence (0:35–0:36). A frost-giant key-art card under the TOPLORD wordmark with a ×2 multiplier and a Google Play badge.
Takeaway. A 36-second compression of the master cut — same template, tighter boss cadence, different key art. This is what “one new creative seeds two new plans” looks like on screen.
Spotlight 3 — The 799-army opening (Applovin)
Hook (0:00–0:05). This variant opens from the other side of the wall: a 799-strong gray army already floods the upper bridge while a single blue runner starts below — the viewer gets both the before and after in one frame.
Body (0:08–0:35). At 0:08 the gray mass crashes into the blue column as it clears +1 gates; at 0:17 a sword-rain strikes the horde as a boss charges; at 0:26 a pink armored champion absorbs the volley at 91 health, and by 0:35 a bigger pink boss at 434 health anchors the horde’s last stand.
End sequence (0:42–0:44). The TOPLORD frost-giant card with the ×2 multiplier closes the run.
Takeaway. The 799 opening is a power-fantasy reframe: instead of selling growth from zero, it sells the destination first. Small narrative variants like this are how the account keeps one template feeling fresh across 44-second sit-throughs.
Spotlight 4 — The Korean end-card variant (Meta surfaces)
Hook (0:00–0:05). Identical to Spotlight 3 frame for frame: the 799-strong gray army, the lone blue runner, the same gates.
Body (0:08–0:35). The same sword-rain beat at 0:17, the same pink champion at 0:26, the same 434-health boss at 0:35 — a faithful redistribution copy, not a re-edit.
End sequence (0:42–0:44). The difference lives here: the closing card swaps to Korean — the game’s Korean title, a Korean search box, and a Korean app-store badge — repackaging the same 42 seconds of footage for the Korean market.
Takeaway. This card is the account’s localization playbook made visible: market entry costs one end card, not one production. The tracked record links it to twenty similar variants — the same footage family dressed for different storefronts.
Spotlight 5 — The no-bait snow-road cut (Meta surfaces)
Hook (0:00–0:06). A snow-lined road bends through the frame with twin +99 gates stacked beside a ×99 multiplier portal — the biggest numbers in the library — while a blue column marches in from the bottom.
Body (0:09–0:37). At 0:09 the army punches through the ×99 gate in a blue shockwave and the road fills wall to wall; at 0:28 a silver flail knight swings across the lane; by 0:37 he grinds down at 262 health under the weight of the multiplied army.
End sequence (0:45–0:47). The Top Lords store card with the ×7 / −5 multiplier graphic and both store badges.
Takeaway. The paired copy is the most interesting asset here: an ad that explicitly promises its gameplay is real. In a runner-ads genre notorious for bait, “the gates you saw in the ads are the gates you play” is a positioning move — and it runs on Meta, where the audience has the least patience for the bait it has already scrolled past.
CreativeScope take
Top Lords is a case study in repetition as leverage. One template, one channel ecosystem (84% of plans on Facebook), one exclusive market (the US), and one end-card swap per storefront add up to a 1,325-plan machine that a small team can actually operate — 45% of its window creatives are reinvested cuts precisely because the template does the work. The trade-off is concentration: everything depends on Meta auction efficiency and the bridge-runner format staying fresh. For UA teams, the benchmark here is not creative volume but creative leverage — how much plan inventory a single proven template can carry.
Related reading
- Last Asylum: Plague ads breakdown: a $3.8M revenue week on two markets — the spread-bet counterpart: eleven networks, two exclusive pools, 4,700 plans.
- The Cozy Florist ads breakdown: 6,939 ad plans, 94% on Meta — another near-Meta-only structure, this time in the cozy-casual genre.
- Glow Fashion Idol ads breakdown — single-market exclusivity taken further: 298 plans exclusive to India.
Every number in this breakdown is queryable in CreativeScope. Pull Top Lords’ live plan counts, split its creative library by network or orientation, and track how long one template can keep scaling — the ad plans refresh hourly.
FAQ
How many ad plans is Top Lords running?CreativeScope tracked 1,325 active ad plans and 650 creatives for the game between August 21 and September 20, 2026. 293 of those creatives are flagged as reinvested — a 45% reuse rate that reflects the account’s template-driven production model.
Which ad networks does Top Lords use?Facebook covers 84.15% of plans, with the other Meta surfaces — Audience Network, Instagram and Threads — each at 79.02% and Messenger at 74.87%. Admob (9.74%), Applovin (6.11%) and YouTube (0.75%) carry the remainder. The highest-exposure video cuts run on Applovin despite the network covering only 81 plans.
Which markets does Top Lords advertise in?The window’s plan map touches 106 markets, led by the US (18.9% coverage) and a broad European block including Germany, France, Canada, the UK and Australia. The US is the only market with a meaningful exclusivity pool: 100 US-only plans, against three or fewer for the other high-coverage markets.
What kind of ads does Top Lords run?Nearly everything is a portrait bridge-runner: a blue army collects +1 and +99 gates, crashes into a red horde, and grinds down a boss before a store end card. The variants differ mainly by enemy waves, gate math and end-card language — the same footage ships with English, Korean and Chinese store cards — and one tracked Meta copy explicitly promises “No bait. No Switch.”
How is the game performing?Google Play’s public install bracket for the app now reads 1M+, and one store-intelligence service estimates roughly 1.3M cumulative installs with about 990K added in the last 30 days. The store rating sits at 4.7 across more than 16,000 ratings. CreativeScope delivery data does not measure installs or revenue; those figures are external store-intelligence estimates.
Data notes
All plan, creative, network and market figures come from CreativeScope and cover August 21 – September 20, 2026. Country and network shares describe ad-plan target coverage under multi-attribution, so they overlap and do not sum to 100%; “exclusive” means a plan’s delivery-country set equals a single market. Lifetime estimated exposure is a relative delivery-scale signal for creatives active in the window, not a platform-reported impression count, and nothing in the tracked data describes spend, installs, conversions or revenue.
Install, launch-timing and rating references are external store-intelligence estimates and are labeled where used; they are not CreativeScope measurements, and store figures are counted as ratings rather than written reviews. Publisher and studio credits follow the store listing. The featured cover is cropped from a tracked Admob image creative carrying the game’s official logo.
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