Or, if you'd prefer, the top five stories currently dominating our readers' attention.
Each week, we'll be counting down the biggest news from the previous seven days, giving just a glimpse of the industry's big issues, from five to one.
Opinion: Time for Apple and Google to unlock smart TV gaming's potential
Industry voices increasingly hark on about the coming age of smart TV gaming, but are the two biggest forces in mobile Apple and Google actually going to get their arses in gear and turn these predictions into a reality?
Editor-in-chief Kristan Reed thinks they both have a long way to go, but user loyalty to their respective iOS and Android ecosystems will likely be the weapon that wins this war.
"A less polite assessment of the scene as it stands is that it's a bit of a joke," offered Reed.
"It's now a full year since Apple last updated its Apple TV range, and the initial momentum behind it - from a gaming perspective - has dwindled to a crawl.
"People might report on the latest rumours and try valiantly to read between the lines, but such all-encompassing entertainment systems won't launch until all the dots are joined up."
Plague vs. Pandemic: How James Vaughan's iOS hit Plague Inc. took the market from its inspiration
When is a clone not a clone? In his latest feature for the site, Simon Parkin spoke to James Vaughan, the man behind iOS hit Plague Inc., accused by many of 'cloning' the Pandemic series.
"A key inspiration for Plague Inc. came from a 2008 Flash game called Pandemic 2 and I have always been very open about this," he says.
"I thought that it was a great game but that it could be so much better so, I decided to make the game that I wanted to play. The first thing I did when writing my design document for Plague Inc. was to clearly outline how Plague Inc. would innovate and expand the genre created by Pandemic."
In the end, Plague Inc. has gone on to be a bigger hit on iOS than Pandemic, adding legitimacy to Vaughan's approach.
"There is no honour in mindlessly copying someone else's game I wanted to make absolutely sure that Plague Inc. could innovate enough to be a unique game, standing strongly on its own to be something I could be proud of."
The Charticle: Was free-to-play right for Real Racing 3?
Reviews and personal accounts may differ, but ultimately there's only one way EA will judge Real Racing 3's free-to-play experiment: whether it makes money or not.
With that in mind, last week's Charticle tracked the game's performance on the app chart to date, with news editor James Nouch concluding that the series' shift to F2P has "been a success, albeit a qualified one."
"There's no question that EA has made a tidy sum from the game already, although perhaps not as much as hoped," offered Nouch.
"Its predecessor, Real Racing 2, launched in December 2010 an age ago in App Store terms. Even in January 2012, more than a year after launch, Real Racing 2 was able to reach the heady heights of #25 in the US App Store's top grossing charts."
Opinion: Forget the F2P fuss, Real Racing 3 has started the race towards an Apple console
But what if the free-to-play aspect of Real Racing 3 is actually just something of a footnote, and there's actually a bigger issue hampering play?
According to editor Keith Andrew, his first thought when taking on the game on his iPod touch wasn't whether he was going to part with cash and pay out for in-app purchases, but rather how alien it felt to play such an intense racer on a mobile device.
Could Real Racing 3 and other games of that ilk be the perfect title to launch on an Apple TV console in the future?
"Real Racing 3 and a clutch of other releases is a game for me that takes the console type racer and slices away at it with a series compromises so that it's playable on mobile," said Andrew.
"Apple sold over 75 million iOS devices during Q1 2013 alone.
"If Apple were to give any console or revised Apple TV unit away with those purchases or even simply offer it at a discounted rate the impact it could have on the existing console market within a short space of time is potentially devastating."
The developer that fell in love with iPad: Supercell, a studio profile
Top of the pops last week was Lee Bradley's look at Finland's rising superstar, Supercell.
It's a level of success that meant, in November 2012, Supercell overtook Electronic Arts to become the highest grossing games publisher on the App Store. Even more impressive that was achieved o on the back of just two releases: Hay Day and Clash of Clans.
But how did the studio end up rising to such heights?
"Internally, we have a saying, 'small is the new big,'" CEO Ilkka Paananen told us. "We're organised into 'cells,' small teams that operate very independently.
"The teams decide what they work on, and we only measure them based on the results. There really are no processes dictated by the management, and our organisation is optimised for speed.
"We're also very transparent and open, we share all data with everyone, every single day. And we have a very high degree of trust in our people, which is really what is required to make this type of approach work."
