Submitted by R17 Ventures AG

Skibidi: 2.5 Million Users in One Month

R17 Ventures AG connected creator DaFuq!? Boom!'s YouTube and TikTok channels with app store acquisition for Skibidi War - Toilet Attack, reporting 2.5M new users in one month.

+3M downloadsapp downloads
Über 3 Millionen Downloadsdownloads
2,5 Mio. neue Nutzer in einem Monatnew users in one month
2.5M new users in one monthnew users
200 % höhere Einnahmen als die Konkurrenzrevenue versus competitors

Case in 60 seconds

Skibidi War - Toilet Attack arrived with a built-in audience through creator DaFuq!? Boom!, yet attention alone did not produce installs, so the difficulty was turning that reach into downloads, active users and revenue at scale.

The campaign appears to turn on the short distance between watching a creator's video and installing the game it features, because the audience was already assembled and required only a route into the app stores.

R17 built acquisition around the advantage already sitting in front of it rather than cold prospecting, amplifying the creator's strongest content so that people moved from content to download to user to revenue.

The creator's largest YouTube and TikTok channels became the primary distribution points for the game, while Google Play and the Apple App Store carried conversion, capturing demand across Android and iOS rather than depending on one platform.

R17 reports 55M video views, +3M downloads and 2.5M new users in one month alongside 200% higher revenue than competitors, with Influencer Apps CEO Robyn Viljoen quoted saying the app outperformed its competitors.

Strategy Breakdown

The primary strategy-learning section — interpretation, not a press-release summary.

The creator DaFuq!? Boom!'s established YouTube and TikTok audience, reached as mobile game players across both Android and iOS app stores.
Hyper-casual games normally compete for installs without any following of their own, and the page frames attention as the thing most new mobile games spend years building, so arriving with a creator audience in place reversed the usual order of the problem.
The game's role was to give the creator's audience something to do with the attention it already gave him, and R17 treated the app stores as the point at which that attention became an install.
Based on the available evidence, the work assumed viewers of a creator's video would install a game featured in it when the route was short, which is why the biggest channels were used as distribution points rather than as advertising placements.

Creative & Execution System

Assets & channels

  • Apple App Store
  • Google Play
  • TikTok
  • YouTube

Partners

  • R17 Ventures AG (lead_agency)

Creator role

  • DaFuq!? Boom! — creator
  • DaFuq!?Boom! — creator

Results & Evidence

MetricValueResult type
app downloads+3M downloadsrevenue
downloadsÜber 3 Millionen Downloadsrevenue
new users in one month2,5 Mio. neue Nutzer in einem Monatperformance
new users2.5M new users in one monthperformance
revenue versus competitors200 % höhere Einnahmen als die Konkurrenzperformance
users in one month2 Millionen Nutzer in einem Monatperformance
users2M users in one monthperformance
video views55 Millionen Videoaufrufevideo_views
video views55M video viewsvideo_views

Why R17 Ventures AG's strategy worked

  1. 1

    Where a game is built with a creator, the creator's largest channels can serve as the distribution layer itself rather than as a media placement, which removes the cold acquisition stage most launches begin with.

  2. 2

    Splitting the job between surfaces appears to be what made the loop work, because YouTube and TikTok were asked only to generate awareness while Google Play and the Apple App Store were asked to convert it.

  3. 3

    Running Android and iOS together suggests that a creator audience does not sort itself by device, so capping distribution at one store would have discarded a share of the demand the content created.

  4. 4

    Reporting views next to downloads, users and revenue reads as a deliberate choice to hold creator reach to a commercial standard, since a view total on its own says nothing about what happened after the impression.

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