Superhero Comedy Game Dispatch Becomes a Million-Selling Hit Thanks to Its Weekly Episodic Release Strategy

AdHoc Studio’s superhero workplace comedy Dispatch has quickly turned into one of the most surprising gaming success stories of the year, with the final episode releasing just yesterday. According to data shared by industry analysts at GameDiscoverCo, the narrative-driven title is now approaching two million copies sold, which is an impressive feat for a relatively modest, story-focused project.

The reasons behind this surge vary. Some observers point to the idea that there’s a huge, underserved audience for narrative single-player games—an audience the industry keeps neglecting while chasing big-budget live-service trends. Others highlight that people are still very much into superhero stories, especially those that take a darker or more irreverent approach compared to traditional Marvel-style heroism. But the simplest explanation may be the most accurate: Dispatch is a well-crafted, genuinely entertaining game, and good games tend to sell.

Still, industry analysis rarely accepts explanations that straightforward. Fortunately, AdHoc’s CEO and executive producer Michael Choung offered another perspective while speaking to GameDiscoverCo. He suggested that part of the game’s success comes from its weekly episodic release schedule, a model that mirrors traditional TV rollout patterns. According to Choung, “We’re really just borrowing a rhythm that’s worked for decades on television. That weekly cadence hits a sweet spot where anticipation builds, but not long enough to fade.”

You can read more about this perspective on the GameDiscoverCo site through their industry newsletter at gamediscover.co.

This idea resonates strongly when looking at how players consume content today. Many gamers—and TV watchers—have grown used to binge-style consumption thanks to streaming platforms. Waiting even a week between episodes can feel agonizing. Play an episode, get hooked, and then suddenly you’re stuck counting down days until the next chapter drops.

As the article humorously points out, long waits between episodes risk everything from losing interest to, jokingly, having a piano fall on you. A monthly release gap?

Practically unbearable by today’s standards.

This contrast becomes especially sharp when comparing Dispatch’s smooth weekly cadence to the infamous delays of past episodic titles—particularly from Telltale Games, the studio many AdHoc developers once worked for. For example, Telltale’s The Walking Dead: Season 2 launched its first episode in December 2013, but players had to wait until March 2014 for Episode 2. Telltale’s overlapping projects and internal mismanagement often led to such long delays, which frustrated players and disrupted story momentum. Dispatch, by comparison, feels far more consistent and thoughtfully paced.

The article’s author also mentions wanting to revisit the history of episodic storytelling in games—from Star Trek-inspired structures to Telltale’s branching dramas—to analyze how release tempo shapes relationships, plot development, and cliffhanger design. For instance, a weekly schedule might benefit high-tension cliffhangers, while monthly episodes may need more self-contained narratives to keep players engaged during longer breaks.

Finally, the author admits they now need to return and finish Dispatch themselves. After reviewing the first two episodes, they got distracted by new anime, including Sanda and a rewatch of Monthly Girls’ Nozaki-kun, but they still remember enough of the early story to pick up Episode 3. As they recall, the game features two problematic romance options and a man with flammable body odor who’s very eager to beat them up—highlighting the game’s bizarre and comedic tone.

For more details on Dispatch’s overall sales and reception, readers can explore coverage on sites such as GameDiscoverCo and Rock Paper Shotgun, which continue to follow the game’s momentum closely.