Originally published at: https://www.kongebonus.com/nyheter/print-studios-eksklusivt-intervju/

Q. You've been nominated for three of the most prestigious awards in this year's Kongebonus Awards, as a studio that only releases around six games a year. What does it mean to you to be considered on par with giants that release 50–70 games a year?

It means an incredible amount to us, and it's, of course, a great honour. We're a small team that puts a lot of time into each and every title, so when we're mentioned in the same category as big studios with completely different resources, it feels like proof that our philosophy works. We don't compete on volume, we compete on experiences.

Q. Uncle Profit has already created a fan base of its own among our readers. What triggered the idea for this unusual universe, and when did you realise, “OK, this is going to be something completely different from anything we've done before”?

The idea actually started as an internal joke about how garden gnomes could have their own personalities. The more we developed the characters, the more it became clear that we had found something that stood out. The turning point came when we tested the first prototypes internally. We couldn’t stop talking about the angry old man and the garden gnomes. That’s when we knew this was something really special.

Q. Print Studios is known for mechanics that look simple but require a huge amount of fine-tuning. What is the most time-consuming part of making a Print game? Is it the math, the timings, the animations, or something else entirely?

Everything! The most time-consuming part is making the whole thing feel organic. The math and balancing require a huge amount of iteration, but the timing and animations also have to fit perfectly with the mechanics. Things can look great on their own, but once they're combined, everything can change. We spend a lot of time polishing the games to get them as close to perfect as possible.

Q. You rarely release more than six titles a year, yet your games feel bigger and more elaborate than the production pace would suggest. Is this pace a conscious part of Print Studios' identity, or are you considering scaling up?

Pacing is absolutely part of our identity, and we believe every release should be a real candidate for 'game of the year'. We never want to end up in a situation where quality has to give way to the calendar. At the same time, we are growing, and that means we can eventually scale up. But only if we can do so without losing what makes Print unique. Quality is non-negotiable with us.

Q. 2025 has been a year where major studios have moved more towards safer concepts. You seem to be going in the opposite direction. What moment or project from the year do you feel best represents where Print is heading as a studio?

For me, it would have to be Deck of Scurra, which came out a few months ago. The previous two years we've released Halloween-themed titles like Darkness and Dreadworks. This year, we wanted to do something different, and Deck of Scurra really stands out. How do you combine a card game and a slot? It was an incredibly fun, and very complex project for us.

Q. Without revealing too much: Should players expect “Print as usual” in 2026, or will you come up with something that completely breaks with everything you've made so far?

2026 is definitely going to feel like Print Studios, with the same focus on mechanics, strong personality and well-crafted design. You’ll recognise us, but you’ll also be surprised. We’ll continue to experiment and test the limits of what a slot can be. In short: both Print as usual and something new. Our first launch for 2026 is coming in February, and I think it’s going to be one of our best titles ever – so stay tuned!

Thank you so much to our entire team and the amazing community for the nominations. It means a lot to us.