Interviews
The value of exclusive content with Andy Sekula and Marcin Kalbarczyk
Kalamba Games have worked with Kindred on producing new timed-exclusive Ducks Till Dawn. Ahead of the release we caught up with Andy Sekula, Head of Games at Kalamba, and Marcin Kalbarczyk, Kindred’s Senior Casino Product Manager, to discuss how exclusive titles benefit both supplier and operator, and how the title came to be.
Why did you guys decide to get together to develop exclusive content? What’s the thinking behind making exclusive titles?
AS: It’s great for us, the supplier, because we can leverage operators’ experience and knowledge of the player base when working on the game. It’s a true feedback loop that gives real weight to the design process and puts our developers much closer to our end user, and also gives us insight into the marketing machinery of an operator, which is different to our own.
There are of course also commercial benefits – both in the sharing of development cost and in that we can see two peaks in terms of bets – the exclusive release and later, the release on the network.
MK: For the operator, being able to offer a product that is not available anywhere else, is a very strong, unique selling point. Exclusive games are a great way to differentiate ourselves from competition, especially these days when content saturation in the igaming industry is rapidly increasing.
The second reason, like Andy says, is the commercial reason. Our data from recent years proves that the reduced revenue share makes a massive difference, especially when so many marketing activities are focused on our exclusive releases.
Lastly, we are the experts who know our customer base. Through analysis of features from hundreds released slots, we are able to determine which ones have the highest chance of best performance. By building an exclusive game in collaboration with an experienced studio, we get a chance to implement that knowledge.
What are the benefits for both parties in having suppliers dedicate a game to one single operator?
MK: For both emerging and established suppliers, it’s a great boost for reputation to have their game released exclusively with a big operator. With so much marketing focus being directed at these games, it’s obvious that their reach will be stronger than any regular release.
The financial side is also a strong benefit. Through the upfront fee, suppliers get to partially, or even fully, cover their production cost. In exchange for that, we get a chance to create a game according to our guidelines.
AS: Exactly, there are great benefits for us in working closely with operators when building games, but for the operator having a potential hit on exclusivity will drive more users to the casino and also make the current player base stay engaged for longer in anticipation of content that’s not available elsewhere.
Where does the balance sit in creating a game that is in keeping with the studio’s style yet meets the requirements of the operator?
AS: The most important thing is to find the chemistry between operators’ needs, which are the expression of what makes players excited, and what the supplies feel strong at. In other words there must be a chemistry which I’m pleased to say was in full effect on the production of Ducks Till Dawn! In our experience it’s quite rare to find ‘hard’ requirements as much of the game development process is truly a creative one, but there may be some themes or math models that resonate better than others with a particular operator’s audience, or indeed an operator’s priority list at any given time.
MK: Yes, an open-minded approach is very important here. Sometimes operators want a specific type of game and they look for a supplier that specialises in that particular area, let’s say a cluster slot or a 3×3 one. Then they are comfortable with handing over the production to them because they know this is the kind of game they do best. They don’t have to be included that much.
The situation can be completely the opposite when the operator has unique needs or is trying to introduce innovation in regard to mechanics and features. Then the supplier’s flexibility becomes a priority.
During the Ducks Till Dawn production, the flexibility of Kalamba Games team and some of their already proven mechanics were a perfect mixture.
How did the process of collaboration work between Kalamba and Kindred when creating Ducks Till Dawn?
MK: We worked with a number of suppliers throughout 2018-19 and then in 2020 and Kalamba was very smooth and straightforward to collaborate with. Sometimes suppliers have their set vision of the game and don’t like to implement drastic changes proposed by the operator. Kalamba was very flexible on that point and accommodated all of our feedback on what we thought would resonate with our customers better, which made this a great cooperation.
AS: It went really smoothly, because we all liked the core mechanics of the game which we considered for a while and later decided would be expressed as CASH DUCKS, which we imported from a land based slot. We’ve had regular meetings and a lot of valuable feedback from the Kindred guys, which allowed us to get a better understanding of what might potentially make players feel excited.
Are there any specific features in DtD that you think will particularly appeal to Kindred players?
MK: Definitely the Cash Ducks. This was initially inspired by a slot machine from the land-based casino segment. The Kalamba team showed it to us on one of the first meetings and together we developed it together into a unique mechanic. We all thought it would work very well if the instant win symbols would move horizontally across the screen and that’s when the amusement park shooting range idea was born. Since the release date was already planned just before Halloween, it made sense to add a bit of spooky atmosphere. A great title completed the theme perfectly.
AS: For sure, we’re also confident that the SpinBoost feature will be a big hit because it allows players to have a slightly longer target to hit which makes the game more entertaining and more exciting for a longer period.
More generally, are we seeing greater collaboration between operators and suppliers in the game development process? Do you expect we will see more of these types of collaborations?
AS: Definitely, the collaboration with suppliers gives operators an opportunity to cater for the tastes of their player base in a more customised manner.
MK: It’s a very reasonable choice for both operators and suppliers to go that way, because it usually provides a good balance between investment and return in addition to exposure towards industry and boost to the reputation. Content saturation is currently huge and it’s going to get even more congested, presenting a significant challenge to operators who want to differentiate their offering. We can see that most of the big tier one operators have exclusive offers from time to time – some more frequently but it’s definitely something that is growing in the gaming industry.
Should operators play a bigger role in content creation? If so, how?
AS: Cooperating with game studios will ensure that the needs and wants of the players are met. I’m sure that suppliers can learn a lot from them, which would result in more effective collaboration and better entertainment for players!
MK: Operators are exposed to a massive amount of content during their game selection process. That gives them a perfect overview of what is present on the market and what players might still need. I think operators are often capable of providing valuable input, which suppliers may utilize in their productions. Such collaborations are definitely valuable and should happen more often as it’s a good way to come across the next industry-revolutionizing idea.
Any final thoughts about Ducks Till Dawn?
AS: As mentioned, it’s been a great collaboration and we look forward to seeing how this goes. It’s a feature-packed game which we think will resonate really strongly with players.
MK: I’m very pleased with how the game came out. There were many different ideas during the production process. We went through a couple of different themes that we wanted to utilise in this game. But in the end, all the pieces came together perfectly; the theme, the mechanics; the SpinBoost feature and the title, of course. We’ve created a really really attractive product and I have huge hopes for that to blow away our customer base!
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As the only iGaming awards originating from Norway, the Kongebonus Awards are decided entirely by open player voting, offering a rare, unfiltered view into what truly resonates with a dedicated gaming community. Kongebonus Editor-in-Chief, David Nilsen, explains how this year’s results reflect shifting player expectations, highlight both emerging and established studios, and contribute to wider industry conversations around quality, innovation and long-term engagement.
The Kongebonus Awards are now in their fourth year. How have you seen them evolve since the first edition?
Since the first edition, the Kongebonus Awards have grown both in reach and in significance. What started as a way to highlight standout games for our Norwegian audience has developed into a recognised annual moment where player sentiment is clearly reflected back to the industry. Each year we see greater engagement from the community and more awareness among studios and suppliers about what the awards represent. The structure has also matured, with categories that better capture the diversity of modern game development. Most importantly, the awards have become a consistent reference point for which games and providers have truly connected with players over the past year, giving the results increasing weight within the wider iGaming conversation.
This year’s awards were presented in connection with ICE Barcelona. How important is it to connect a Norwegian, player-driven initiative with the wider international industry?
Connecting the awards to an international event like ICE Barcelona helps bring local player insight into the global industry spotlight. While the voting comes from Norwegian players, the studios and games involved operate across many markets. Presenting the results in that setting underlines that player preferences in Norway are part of wider trends in iGaming. It also allows international stakeholders to see how a Nordic audience responds to different styles of games, mechanics and themes. That perspective can be valuable for product planning and market strategy.
This year’s winners were decided through open public voting. Why is it important that the results reflect the voice of players so directly?
Having the winners decided through open public voting ensures the results are grounded in real player experience. The recognition comes directly from the people who have spent time with the games, formed opinions and chosen their favourites. That gives the awards a strong sense of authenticity. It moves the focus away from internal industry perspectives and places it firmly with the end users. For studios, this kind of recognition signals that their work has genuinely resonated with players, not just performed well commercially. Player-led results offer a clear and transparent indicator of which games and providers have built lasting appeal, and that makes the outcomes especially meaningful within the industry.
The awards focus not only on commercial performance, but also on quality, innovation and player experience. From this year’s winners, what stood out most to you?
What stood out most was the balance between creativity and accessibility. Players clearly reward innovation, but only when it is paired with strong execution and an enjoyable overall experience. Many of the recognised titles combine distinctive mechanics with clear game identity and smooth gameplay. There is also evidence that consistency matters. Studios that repeatedly deliver engaging, reliable experiences tend to build strong followings, and that loyalty is reflected in the voting.
How do categories such as Rising Star Game Developer and the Readers’ Hall of Fame help ensure the awards spotlight both emerging studios and more established names?
These categories make sure the awards reflect the full spectrum of achievement in the industry. The Rising Star category gives visibility to newer studios that are already making a strong impression with players through innovation and creativity, even if they do not yet have the scale of the largest providers. In contrast, the Readers’ Hall of Fame recognises games that have achieved lasting popularity and become long-term favourites. Including both perspectives shows that excellence is not limited to one stage of growth. It highlights that players value both fresh ideas and proven experiences.
Looking ahead, how do you expect the awards to continue growing, and what role do you see Kongebonus playing in shaping player-led conversations in the industry?
As player expectations continue to change, the awards will develop alongside them. The aim remains to document and highlight the studios and games that genuinely stand out from a player perspective. Over time, this may mean refining categories or exploring new ways to reflect emerging trends, while keeping open voting at the core. Kongebonus will continue to act as a bridge between players and the industry, translating community sentiment into insights that studios and suppliers can learn from. By keeping the focus on player experience and feedback, the awards can play a growing role in encouraging the industry to prioritise quality, innovation and long-term player engagement.
To find out more about this year’s Kongebonus Awards and see the full list of winners, visit: https://www.kongebonus.com/nyheter/vinnere-av-kongebonus-awards-2025/
The post Inside the Kongebonus Awards: What Norway’s Players Are Telling the iGaming Industry appeared first on Eastern European Gaming | Global iGaming & Tech Intelligence Hub.
Following the announcement of its new publishing vertical and the successful debut of Royal Drop, we sat down with Tanja Bergman, Head of Growth RGS at Tequity, to discuss how this new arm is set to dismantle technical barriers for ambitious studios and why scalability is the new frontier for the ‘Burst Games’ genre.
Tequity has just officially launched its Publishing vertical. What was the primary catalyst behind this move?
The industry is currently in a fascinating place. There is no shortage of creative talent among studios, but there is a massive technical bottleneck. We have seen so many ambitious studios with incredible concepts – especially those moving beyond traditional slots – who have been getting bogged down in terms of getting those concepts out into the marketplace.
The catalyst for Tequity Publishing was simple. We wanted to break down those technical barriers. By handling the infrastructure, distribution, and compliance frameworks, we allow studios to do what they do best, which is build outstanding games. It’s about speed-to-market without compromising on the quality or the vision of their content.
The launch coincides with the release of Royal Drop. How does this game, and the partnership with Mirror Image Gaming and The Fortune Engine, showcase what Tequity Publishing is all about?
Royal Drop is the perfect proof of concept. It’s a collaboration that highlights three important pillars of modern game delivery. You have Mirror Image Gaming bringing that fresh, video-game-influenced Burst Games energy, The Fortune Engine provide the math tools and templates, and Tequity Publishing offers the global scale and distribution pathway.
It shows that when you remove operational friction, you can create a game-first experience that appeals to a new generation of players who want something more interactive than a standard 5×3 reel.
Tequity Publishing offers two models: RGSaaS and RGS-to-RGS. Can you walk us through the strategic benefits of each?
Flexibility is key, because no two studios are at the same stage of their journey. The RGSaaS model is our full-service offering. It’s designed for studios that want to focus 100% on the creative side. We provide the entire infrastructure and publishing framework and it is essentially a business-in-a-box for game creators.
The RGS-to-RGS model is a more streamlined, tech-first approach for studios that already have their own RGS but lack the distribution muscle. It allows them to plug into our growing operator and aggregator network instantly. Both models are built on the same philosophy: helping studios reach parts of the market they otherwise couldn’t access on their own.
You mentioned reaching new generations of players. How does this vertical specifically empower studios to innovate in ways they couldn’t before?
When a studio is concerned about how they are going to integrate with a multitude of different operators or how to navigate complex jurisdictional requirements, they tend to play it safe. They stick to what they know.
By taking that weight off their shoulders, we give them the opportunity to be brave. Studios like Mirror Image Gaming are pushing the boundaries of modern iGaming, taking influences from the video game world. This is exactly what the new generation of players is looking for. We provide the scalability so that these niche, innovative ideas can achieve mass-market impact.
It’s been a busy period for Tequity, following the success of your Originals series and the iBankroll partnership. How does the Publishing vertical fit into the broader Tequity roadmap for 2026?
It’s all part of becoming the ultimate technology partner for the gaming industry. Whether it’s our streamer-friendly Originals or our Bankroll-as-a-Service offering, the goal is to provide scalable, customisable solutions. Tequity Publishing is the natural evolution of that mission. We aren’t only providing the tools anymore, but also the pathway to the player. Looking ahead, you can expect a series of further launches through our three-way collaborations. We’re proving that the barrier to entry for innovation has never been lower.
Finally, for studios looking to scale quickly, what is your main message to them?
Don’t let technical noise drown out your creative signal. If you have a game concept that breaks the mould, you shouldn’t have to spend years building the distribution architecture to get it seen. That’s what we’re here for. We want to help you launch at a speed and scale that matches your ambition, so that you can make a significant splash in the industry.
The post Scaling innovation through the launch of Tequity Publishing appeared first on Eastern European Gaming | Global iGaming & Tech Intelligence Hub.
We speak to Charles Mott, CEO & Co-Founder at S Gaming, about the provider’s move into the US market with BetMGM and why more casual gameplay hits the mark with players stateside
Congratulations on your deal with BetMGM in the USA. Why is this such a milestone market launch for S Gaming?
The deal with BetMGM marks our hotly-anticipated launch in the US market, and sees our games go live to players in core regulated states such as New Jersey, Pennsylvania, West Virginia and Michigan. We see huge potential for our content in the North American market, and to make our debut with such a high-calibre operator is a testament to this. The US is still just finding its feet as a regulated online casino market, and our games, with their focus on sustainability and high entertainment, are the perfect fit for audiences who are used to land-based slots and are increasingly moving online. They are simple, easy to understand and play, and ultimately deliver tons of fun over longer playing sessions – just like the slot machines found on the floors of casinos in Las Vegas and beyond.
Just how important was it to go live with a tier-one operator like BetMGM? And how will the deal allow you to quickly build momentum in the US?
It’s mission critical. Going live with BetMGM allows us to build immediate trust with players, tap into a large and loyal playerbase, and simultaneously enter multiple regulated iCasino states at the same time. Now that we are up and running with BetMGM, we are turning our attention to striking partnerships with other operators active in the market. It’s pretty much the same blueprint that we’ve followed in our home market of the UK where we are now live with all but a handful of brands – something we have been able to achieve in a little over two years. We know the US is a slightly different market, but we are confident in our approach to game development and, as we gather more data on how US players interact with our games, will use this feedback loop to guide our product roadmap going forwards so that each title is better than the last and more suited to the preferences of US players.
You mentioned that your games are aimed at more casual players. How does this align with the preferences of US consumers?
If you walk onto the gaming floor of any Las Vegas casino, you’ll see row after row of slot machines. Increasingly, these machines are designed to keep players entertained for longer through gripping gameplay and regular wins. A lot of online slot content delivers high risk/high reward gameplay, where players can quickly clear through their balance as they hunt down big wins – wins that don’t land all that often. In a market where operators care deeply about retention and lifetime value, games that keep players spinning for longer really matter. Our approach to producing sustainable, fun games for players in the UK and Europe has allowed us to not only stand out but to engage players at scale, and we are confident players in the US, especially those who enjoy land-based slotting, will also be drawn to them at scale.
Has launching in the US been a major undertaking for S Gaming, or did it prove to be plain sailing for the most part?
When planning our move into the US market we identified two routes. We have our own remote game server, so we could build on that, secure licences in each state we wanted to enter, and then deploy our content directly with operators. The other option would be to work with a third-party RGS provider that already has the licences and integrations we needed. While the first option might sound like the best, in reality, especially for a smaller studio, the cost of and resources required for securing individual state licences can be prohibitive. So instead, we joined forces with Gaming Realms as they have the cutting-edge RGS and licences (in both the US and Europe) we were looking for. This means we simply need to build a US version of each game on the Gaming Realms RGS and can then deploy content with the wide range of operator partners they are connected with in regulated iCasino states across the US.
Tell us more about the initial run of games you’ve launched with BetMGM.
We’ve launched the partnership with Barnyard Bash Chicken Chase which will be followed by Triple 7 Jackpot in February and Cat and Mouse Collect in March – with one new game a month to follow as we build out our US portfolio. If players were to try just one of our games, it would be Barnyard Bash Chicken Chase. It gets players clucking as they spin the reels, collect Eggs and add them to the growing Nest – the more eggs collected, the bigger the Nest Egg becomes. Not only that, Eggs can randomly activate the matching colour-coded Nest Egg and award entry to the Chicken Trail feature, drop Egg-stra Free Spins or lay an Instant Prize.
But once they’ve tried it, they’ll definitely want to take Triple 7 Jackpot for a spin. This classic slot is dripping in neon action – the Triple 7 feature is always on screen but is locked until a spin lands three Bonus 777 symbols. This unlocks the feature with on spin awarded, giving players a shot at the 500x Jackpot prize. Free Spins are also up for grabs with seven Free Games awarded when three Scatters land in the base game.
Finally, Cat and Mouse Collect is a playful, feature-rich slot built around a simple but engaging Collect mechanic. Players pin the reels, collect up the cheeses and feed the hungry mice until they’re fit to burst. Green plates will serve up an instant prize, Blue will start the wild and wacky Cheese Chase and Red dishes out some feisty Free Spins. With regular feature triggers and plenty of on-reel interaction, it’s designed to keep players engaged from spin to spin without relying on extreme volatility.
What does success in the US look like for S Gaming over the next 12-18 months?
Success for us isn’t about one big hit, it’s about becoming a trusted, widely-distributed supplier in regulated iCasino states. Over the next year we want to significantly expand beyond BetMGM, roll out a steady pipeline of US-optimised titles and build the kind of player data and
operator relationships that let us grow sustainably. If players in New Jersey, Pennsylvania and Michigan are regularly choosing S Gaming titles as part of their core rotation, then we’ll know we’re really breaking into the market.
The post Breaking America with BetMGM appeared first on Americas iGaming & Sports Betting News.
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