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    Home»News»Urban Legend: Fact or Fiction: Is Friday The 13th Unlucky?
    Jason Voorhees, "Friday the 13th"
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    Urban Legend: Fact or Fiction: Is Friday The 13th Unlucky?

    Ada BloodBy Ada BloodDecember 18, 20247 Mins Read
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    We’re back with another edition of Urban Legend: Fact or Fiction. In this chapter, we are going to discuss the origins of Friday the 13th and find out if it’s really unlucky.

    Origins

    As luck would have it, the origins of the supposedly cursed Friday the 13th start out murky.  Since it’s composed of two historically unlucky things in western society, the day Friday and the number 13. So to get a full picture we have to dissect each component individually before we bring them back together.

    The Cure "Friday I'm in Love"
    The Cure “Friday I’m in Love”

    Friday

    You’d think with Friday being right before the weekend for most people would make it one of the most beloved days of the week. It’s not like Robert Smith wrote “It’s Tuesday, I’m in love.” But in Christianity it is considered a day to be feared. 

    Friday is believed to be the day that Adam and Eve ate from the forbidden Tree of Knowledge, when Cain murdered Abel; when the Temple of Solomon was destroyed, and when Noah’s ark set sail due to the Great Flood. Jesus Christ was also crucified on it, hence the observance of Good Friday which somewhat breaks from this tradition. (While it may be considered a good day for Christians now, it certainly wasn’t pleasant for Jesus.)

    In Britain, Friday takes on a sinister tradition as well. It was known as Hangman’s Day because it’s usually when death sentences were carried out on the gallows. 

    “Fridays were considered unlucky days, and that’s been true since the Middle Ages in the English speaking world and probably through most of Europe, because Friday was the day of crucifixion. And in the old Catholic tradition, every Friday was a day of penance. And that idea has persisted,” said Moira Marsh, a folklore librarian at the University of Indiana Bloomington.

    The Number 13

    The number 13 being considered unlucky also dates back to religion and dinner parties. In Christianity, Judas, who betrayed Jesus, was the 13 guest at the Last Supper. In Norse mythology, Loki showing up as the 13th guest to a dinner party of the gods, caused the world to  plunge into darkness.

    13’s bad reputation may be due in part to following the number 12. Many view 12 as a round number that completes many important things. There are 12 months in a year, 12 zodiac signs, 12 inches in a foot, 12 pairs of ribs in the human body, 12 days of Christmas, 12 labors of Hercules, 12 gods of Olympus, and 12 tribes of Israel. Not to mention 12 being an even number means that it can create symmetry. Whereas 13 doesn’t have the same balance and can feel disorienting coming after a “cleaner” feeling number. 

    “So 13 is associated with that terrible event. And Friday, the 13th you get a double whammy,” explains Dr. Phil Stevens, retired anthropology professor from the University at Buffalo and author of “Rethinking the Anthropology of Magic and Witchcraft: Inherently Human.” “You get both of these elements coming together: the taboo against 13, and the crucifixion, which was on a Friday.”

    Betsy Palmer, “Friday the 13th”

    Pop Culture

    Mashing the two together seems to be an advent of pop culture. The first reference we could find for Friday the 13th being unlucky comes from the 1834 play “Les Finesses des Gribouilles.” A character states; “I was born on a Friday, December 13th, 1813 from which come all of my misfortunes.” 

    The French literary magazine Revue de Paris, contained a piece by Marquis de Salvo about a father who killed his daughter on Friday the 13th. “It is always Fridays and the number thirteen that bring back luck,” he wrote (via NPR).

    In 1907, we get the novel “Friday, the Thirteenth” by Thomas William Lawson. It tells the story of a New York City stockbroker who uses superstitions to create chaos on Wall Street. All so they can make bank on the market in all the comotion.

    In 1980, we got the most iconic of all the media based on the day, “Friday the 13th.” A film that would go on to birth the hockey-masked slasher Jason Voorhees. A killer that now stars in comic books, novellas, video games, and is a fan favorite Halloween costume. 

    Is Friday The 13th Really Unlucky?

    If Friday the 13th is unlucky or not depends on you dear reader. If a day, number, time, etc. is bad depends on how your perception of it affects your behavior. 

    “No data exists, and will never exist, to confirm that the number 13 is an unlucky number,” says Igor Radun of the Human Factors and Safety Behavior Group at the University of Helsinki’s Institute of Behavioural Sciences in Finland. “There is no reason to believe that any number would be lucky or unlucky.” Radun also co-authored the 2004 study “Females Do Not Have More Injury Road Accidents on Friday the 13th.” 

    Some may point out there was a study published in 1993 in the British Medical Journal, that showed that car accidents increased by up to 52% on the 13th. The study reportedly analyzed the traffic flow and number of  injuries from car accidents on the southern section of London’s M25 motorway, for a five month period on Friday the 13ths between 1990 and 1992. They put this up against data from Friday the 6ths in the same months. Researchers noted there were less cars on the road, but “the risk of hospital admission as a result of a transport accident may be increased by as much as 52 percent” on the 13th.

    The issue is this study is a joke. That’s not us editorializing, it’s literally a joke.

    Yup, A Joke

    “It’s quite amusing and written with tongue firmly in cheek,” said Robert Luben, a researcher at the school of clinical medicine at the University of Cambridge and one of the authors of the study. “It was written for the Christmas edition of the British Medical Journal, which usually carries fun or spoof articles.”

    “(Some people) clearly didn’t understand that the paper was just a bit of fun and not to be taken seriously,” he explains. “Many also assumed that the authors were ‘believers.’ I’m sure that most of these people hadn’t read the paper, which suggests that people being superstitious affects their behavior.”

    “Unfortunately, most of studies dealing with Friday the 13th and the number 13 are solely focused on statistical data, such as accident data, stock exchange data, etc., without any attempt to establish a ‘direct’ relationship between belief, or superstition, and behavior,” says Radun. “Therefore, it is not surprising that contradictory results may occur … In our study, we did not find that either women or men have more injury road accidents on Friday the 13th compared to previous and following Fridays.” 

    “There are no lucky or unlucky numbers; they exist only in our heads – or in the heads of some of us – and they might become lucky or unlucky only if we make them as such,” he adds.

    So if Friday the 13th feels unlucky to you then it probably is.

    "Beyond Belief: Fact or Fiction"
    “Beyond Belief: Fact or Fiction” (Fox)
    Jonathan Frakes in "Beyond Belief: Fact or Fiction"
    Jonathan Frakes in “Beyond Belief: Fact or Fiction” (Fox)

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    Ada Blood

    Hi, I’m Ada. I like long walks in the graveyard, horror movies, comic books, and bringing you the latest in nerd-centric news.

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    Most studios searching for a match-3 level design company are looking for five different things. Some need levels built from scratch, others require a live game rebalanced before churn compounds, and some demand a content pipeline that won't fall behind. These are different problems, and they map to multiple types of companies. The mistake most studios make is treating "match-3 level design" as a single service category and evaluating every company against the same criteria. A specialist who excels at diagnosing retention problems in live games is the wrong hire for a studio that needs 300 levels built in 2 months. A full-cycle agency that builds from concept to launch isn't the right call for a publisher who already has engineering and art in place and just needs the level design layer covered. This guide maps 7 companies for match-3 level design services to the specific problem each one is built to solve. Find your problem first. The right company follows from there. What Match-3 Level Design Services Cover The term "level design" gets used loosely in this market, and this causes bad hires. A studio that excels at building levels from scratch operates dissimilarly from one that diagnoses why a live game's difficulty curve is losing players (even if both describe their service the same way on a website). Match-3 level design breaks into four distinct services, each requiring different expertise, different tooling, and a different type of partner. Level production — designing and building playable levels configured to a game's mechanics, obstacle set, and difficulty targets. This is what most studios mean when they say they need a level design partner, and it's the service with the widest range of quality in the market. Difficulty balancing and rebalancing — using win rates, attempt counts, and churn data to calibrate difficulty across hundreds of levels. Plus, this includes adjusting live content when the data shows a problem. Studios that only do level production typically don't offer this. Studios that do it well treat it as a standalone service. Live-ops level design covers the ongoing content pipeline a live match-3 game requires after launch (seasonal events, new level batches, limited-time challenges) sustained at volume and consistent in quality. This is a throughput and process problem as much as a design problem. Full-cycle development bundles level design inside a complete production engagement: mechanics, art, engineering, monetization, QA, and launch. Level design is one function among many. Depth varies by studio. Knowing which service you need before you evaluate a single company cuts the list in half and prevents the most common mistake in this market: hiring a full-cycle agency to solve a level design problem, or hiring a specialist to build a product from scratch. The List of Companies for Match-3 Level Design Services The companies below were selected based on verified credentials, named shipped titles where available, and the specific service each one is built to deliver. They are ranked by how well their capabilities match the service types outlined above. A specialist who does one thing exceptionally well sits above a generalist who does many things adequately. SolarSpark | Pure-play match-3 level design specialist SolarSpark is a remote-first studio built exclusively around casual puzzle game production. With 7+ years in the genre and 2,000+ levels shipped across live titles including Monopoly Match, Matchland, and KitchenMasters, it is the only company on this list that does nothing but match-3 level design. Level design services: Level production, difficulty curve planning, fail-rate balancing, obstacle and booster logic design, live-ops pipeline, competitor benchmarking, product audit and retention diagnostic. Verdict: The strongest pure specialist on this list. When level design is the specific constraint, SolarSpark is the right choice. What they do well: Every level is built around difficulty curves, fail/win balance, obstacle sequencing, and booster logic, measured against targets before delivery. Competitor benchmarking is available as a standalone service, mapping your game's difficulty curve and monetization structure against current top performers with specific, actionable output. Where they fit: Studios with a live or in-development game that need a dedicated level design pipeline, a retention diagnostic, or a one-off audit before soft launch. Honest caveat: SolarSpark does not handle art, engineering, or full-cycle development. Logic Simplified | Unity-first development with analytics and monetization built in Logic Simplified specializes in Unity-powered casual and puzzle games, with match-3 explicitly in their service portfolio. Operating for over a decade with clients across multiple countries, the studio positions itself around data-informed development: analytics, A/B testing, and monetization are integrated into the production process. Level design services: Level production, difficulty progression design, obstacle and blocker placement, booster and power-up integration, A/B tested level balancing, customer journey mapping applied to level flow. Verdict: A credible full-cycle option for studios that want analytics and monetization treated as design inputs from day one, not as post-launch additions. What they do well: Logic Simplified builds analytics and player behavior tracking into the design process. Their Unity expertise is deep, and their stated MVP timeline of approximately three months is competitive at their price point. India-based rates make full-cycle development accessible without requiring a Western agency budget. 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Verdict: A viable full-cycle option for studios that need a Western-based partner with transparent fixed-cost pricing and documented match-3 capability. What they do well: Cubix covers the full production chain in one engagement, with strong visual production backed by an in-house animation team. Their fixed-cost model is a practical differentiator for studios that have been burned by scope creep on previous outsourcing contracts. Staff augmentation is also available for studios that need talent to plug into an existing pipeline. Where they fit: Studios that want a US-based full-cycle partner with predictable budgets, cross-platform delivery across iOS, Android, browsers, and PC, and a single vendor to own the concept through launch. Honest caveat: Named shipped match-3 titles are not prominently listed in their public portfolio. This is a verification gap worth closing during vetting, not a disqualifier on its own. 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Their modular system reduces development time and costs through reusable components, and their LiveOps infrastructure covers analytics, event management, and content updates as a planned post-launch function. Where they fit: Studios that need a data-informed full-cycle match-3 partner and want to evaluate a studio's methodology through published results. Honest caveat: Galaxy4Games covers a broad genre range (casual, RPG, arcade, educational, and Web3), which means match-3 is one of several service lines rather than a primary focus. Zatun | Award-winning level design and production studio with 18 years of operating history Zatun is an indie game studio and work-for-hire partner operating since 2007, with game level design listed as a dedicated named service alongside full-cycle development, art production, and co-development. With 250+ game titles and 300+ clients across AAA studios and indie teams, this agency has one of the longest track records. 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Honest caveat: No publicly named match-3 titles appear in Zatun's portfolio, their verified work spans AAA and strategy genres; match-3 specific experience should be confirmed directly before engaging. Gamecrio | Full-cycle mobile match-3 development with AI-driven difficulty adaptation Gamecrio is a mobile game development studio with offices in India and the UK, covering match-3 development as an explicit service line alongside VR, arcade, casino, and web-based game development. Their stated differentiator within match-3 is AI-driven difficulty adaptation. Thus, levels adjust based on player skill. Level design services: Level production, AI-driven difficulty adaptation, booster and power-up design, progression system design, obstacle balancing, social and competitive feature integration, monetization-integrated level design. Verdict: An accessible full-cycle option with a technically interesting differentiator in AI-driven balancing. 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LiveOps is a named service line covering analytics-driven content updates and retention optimization after launch. Where they fit: Studios that need a full-cycle or co-development partner for a match-3 build and want to test the relationship before committing to full project scope. Honest caveat: Puzzle and match-3 are part of a broad genre portfolio that also spans VR, Web3, and enterprise simulations. How to Use This List The seven companies above cover the full range of what the match-3 level design market offers in 2026. The quality range is real, and the right choice depends on which service type matches the problem you're trying to solve. If your game is live and retention is the problem, you need a specialist who can diagnose and fix a difficulty curve. If you're building from zero and need art, engineering, and level design bundled, a full-cycle partner is the right call and the specialist is the wrong one. The honest caveat pattern across several entries in this list reflects a real market condition: verified, named match-3 credentials are rarer than studios' self-descriptions suggest. The companies that couldn't point to a live title with an App Store link were flagged honestly. Asking for live game references, retention data, and a first conversation before any commitment are things you can do before signing with any studio on this list.

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