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How NetEnt built an empire based on familiarity
Initially founded as Net Entertainment in 1996, NetEnt is one of iGaming’s greatest and most recognisable online slot developers, a company that’s universally known for having a truly unbeatable catalogue of online slots.
But how did this gargantuan Swedish development studio grow in prominence over the years, casting an imposing shadow over the rest of the industry? The short answer, brand power!
That being said, we’re not exactly talking about NetEnt’s brand power here… We’re talking about the fact that NetEnt has traditionally utilised other recognised brands to boost their reputation within the world of iGaming.
In the beginning – NetEnt signs collaborative deal with Universal
NetEnt kick-started this incredibly smart strategy in 2010 when they entered into a landmark multi-year licensing agreement with Universal, the film studio behind some of Hollywood’s greatest movies and television shows.
The first big-name IP that NetEnt developed into an online slot was none other than Mr. Tony Montana himself, the notorious drug lord Scarface. Looking back it’s quite understandable why NetEnt decided to go with an R-rated character.
Not only is Tony Montana all about big money, but it’s much easier to pair a classic bad boy with a form of entertainment such as online slots that have long been looked upon as risqué.
Once it was quite apparent that NetEnt had discovered a winning strategy they continued to sign deals with other major film and television studios such as Colombia Pictures, 20th Century Fox and Sony Entertainment to get access to some of the world’s biggest brands.
These brand partnerships gave NetEnt a competitive edge over other studios who were themselves releasing run-of-the-mill online slots themed around ancient Egypt, Las Vegas and Ireland… Nothing particularly exciting when compared to NetEnt’s slots that are based on hit movies and television shows.
Aggressive expansion – NetEnt’s television and movie-themed slots arrive at casinos across the internet
After the success of Scarface, NetEnt decided to stick with creating branded online slots that feature characters and IP that wouldn’t be ‘tarnished’ by being made into an online slot game. Whether this was a decision made by movie and television executives, or NetEnt themselves remains to be seen… Either way, it worked!
Their next hit games were South Park and Creature from the Black Lagoon. Naturally, South Park featured all of the same rude and crude humour the famous animated show is known for, and as a result, it pulled in a whole host of players (old and new) that were interested in this new and unique crossover.
The same can be said for Creature from the Black Lagoon, a slot based on the unsettling 1954 horror movie of the same name. Despite the fact that not too many players will vividly remember the black and white film, players still flocked to this highly volatile slot.
In the months and subsequent years that followed NetEnt released a huge number of branded TV/movie-themed slots that pulled in huge audiences, these include: South Park: Reel Chaos, The Invisible Man, Frankenstein, Dracula, Universal Monsters: The Phantom’s Curse, Emojiplanet, Planet of the Apes and Conan.
NetEnt also used their successful partnership with Universal to muscle in on the world of music as part of the developers 20th-anniversary celebrations, they got their hands on the IP for some of the world’s biggest rock ‘n’ roll stars Guns N’ Roses, Motörhead and Jimi Hendrix.
Having seriously upped their game utilising big-name brands, NetEnt continued to pull out all the stops to wow audiences with new online slots based on iconic people, tv shows and movies.
First came Jumanji Video Slot, then Narcos (based on the hit Netflix series), followed by Street Fighter II: The World Warrior Slot and most recently Gordon Ramsay Hell’s Kitchen Video Slot.
Building for the future – NetEnt supplement their success by creating their own brand icons
Despite having seen unprecedented success due to their branded slots, credit still must be given to their army of creatives as they’re also responsible for inventing some iconic brands of their own that have gone on to spawn multiple games and feature heavily in casino lobbies.
If you ask anyone today to name a handful of the most recognisable online slot games, odds are they’ll mention NetEnt classics such as Starburst, Gonzo’s Quest, Mega Fortune and Twin Spin. All of these games have spawned popular sequels and are often used as part of casino welcome bonuses due to how popular they are with players around the world.
NetEnt seems to be one of the very few successful online slot developers that have found the perfect balance between creating timeless classics of their own and utilising big-name brands from outside the world of iGaming to help grow their reputation.
Blueprint Gaming and Play’n GO are the only two studios that can hold a candle to NetEnt, and it’s hard to say whether any other developers will get remotely close to any of them at this point. Ultimately, the costs and intricacies involved in licensing are just far too great for up and coming developers to front.
Looking back, it’s clear to see that NetEnt took a serious risk in signing expensive deals with Hollywood studios, but it’s one that paid off tenfold. NetEnt is without a doubt the biggest name in online slots, and has been for the last decade.
We believe that their success is entirely down to the fact they’ve played host to the biggest names and therefore gained the attention of the biggest casinos, seeing their games front and centre of slot lobbies all over the world.
boutique studios
Movers and Shakers: The blueprint for boutique studios looking to crack America
“Movers and Shakers” is a dynamic monthly column dedicated to exploring the latest trends, developments, and influential voices in the iGaming industry. Powered by GameOn and supported by HIPTHER, this op-ed series delves into the key players, emerging technologies, and regulatory changes shaping the future of online gaming. Each month, industry experts offer their insights and perspectives, providing readers with in-depth analysis and thought-provoking commentary on what’s driving the iGaming world forward. Whether you’re a seasoned professional or new to the scene, “Movers and Shakers” is your go-to source for staying ahead in the rapidly evolving iGaming landscape.
Charles Mott, Founder and CEO of S Gaming, says finding success in the US is a tough task, but that studios who can replicate the magic of the casino floor have what it takes to make it stateside
There are plenty of European studios that have set their sights on finding success in the US, but very few have actually managed to achieve it. This is because they are making a common mistake, and that’s failing to translate the preferences of US slot players into their games.
For more than a decade now, the UK and European markets have been defined by “the chase” – high volatility slots with massive, infrequent max wins and jackpots that deliver anticipation and thrills, but that also exhaust the player’s balance in minutes.
But if you walk on to the floor of any Las Vegas casino, the atmosphere is different. It’s about “time at machine”. It’s the neon, the regular dopamine hits of smaller wins and the ability to make $100 provide an entire evening’s worth of entertainment.
As the US market increasingly moves to online, with more states embracing regulated iGaming, it’s no longer finding its feet with players now actively looking for a digital version of the land-based soul they have loved for many years.
Moving away from the “big win” to the “long session”
US players have been culturally conditioned by the physical casino experience. Unlike the high-stakes digital environment of Europe, the American player often views slots as a leisure activity rather than a jackpot hunt.
This is why S Gaming has focused on fun, entertainment and sustainability, with our games matching the “steady tortoise” cadence of land-based slot machines. They still deliver lots of big win potential, but across longer and more engaging sessions.
For operators like BetMGM and Fanatics, both of which we’ve recently partnered with, it’s not just about fun, it’s about retention.
A player who loses their balance in three minutes is a churn risk, but a player who wins small, frequent prizes stays in the ecosystem for longer and ultimately generates a much higher lifetime value.
Efficiency over ego
But it’s not just about having the right games, distribution is also key to cracking America. This is a notoriously difficult market because it’s not one jurisdiction, it’s five (and counting) regulatory islands and in each, you need to secure regulatory approvals.
This is actually a moat that keeps many smaller studios out. It’s an issue we had to overcome, and ultimately looked for a partner that could help us bridge the gap. Our agreement with Gaming Realms allows us to use its remote game server and licences to launch into US states.
This “Infrastructure-as-a-Service” model allows a studio to focus on “game grammar” (math and art) while the partner handles the “plumbing” (compliance and connectivity). It’s the leanest way to hit the ground running with a tier-one operator across multiple states simultaneously.
Why tier ones are buying in
You might be wondering why a tier one giant like BetMGM has joined forces with a boutique UK studio and facilitated its launch into the US.
But the reality is that operators are fighting soaring acquisition costs right now and this means they no longer want more games, they want differentiated games that reduce churn and keep players coming back for more.
Our focus on sustainable entertainment aligns with current US regulatory requirements and the focus on responsible gaming. Games designed for longer, lower stakes sessions are inherently “safer” and more palatable to regulators and risk-averse operators alike.
And they just hit the mark more with players. Sure, winning is a big part of playing online slots, but how you get to the win and the perceived entertainment value is now just as if not more so important – not just in the US but in the UK and Europe, too.
The data-driven evolution
Success does not come from a single launch – it comes from having a feedback loop. We now have a handful of games live in the US market, including our flagship Triple 7 Jackpot title, from which we are gathering real-time data on player behaviour.
This is allowing us to move from “what we think players want” to “what the data tells us they love” and this in turn is allowing us to refine our product roadmap and the games we are producing for the US market, ensuring each title is more culturally resonant than the last.
The new era of transatlantic growth
Cracking America in 2026 isn’t about having the loudest brand of the biggest marketing budget – it’s about understanding the psychology of the casino floor.
The studio’s that succeed will be those that realise the US player isn’t looking for a new way to gamble, they’re looking for a digital version of the “Vegas” feeling they’ve known and loved for decades.
The post Movers and Shakers: The blueprint for boutique studios looking to crack America appeared first on Americas iGaming & Sports Betting News.
blask
When Africa gambles: seasonality patterns across five countries revealed by Blask
When Africa Gambles: Seasonality Patterns Across Five Markets Revealed by Blask , Nigeria, Tanzania, Kenya, the Democratic Republic of the Congo, and Egypt operate under diverse regulatory regimes and follow different domestic sports calendars — Egypt also observes a Friday–Saturday weekend. Yet, across these markets, gambling activity exhibits a shared rhythm: engagement climbs into Q4 and remains elevated through the year-end, with softer periods either mid-year (Nigeria, Tanzania, Kenya, DR Congo) or late winter (Egypt). Peaks broadly coincide with the European club season, while in some markets domestic leagues run in parallel.
Blask’s Seasonality feature, drawing on data from January 2016 to February 2026, allows mapping engagement by month, day, and hour, revealing nuanced patterns in each market:
Nigeria: The Long Saturday
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Annual curve accelerates into Q4: October is the top month, followed closely by September, November, and December. June marks the low point, with a modest rebound in July before the late-summer climb.

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Weekly cycle is weekend-led: Saturday dominates, Sunday and Friday show smaller peaks, weekdays are quieter.
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Hourly pattern forms a broad plateau on Saturday, with elevated activity from early morning to late evening (5am–9pm Lagos time). Weekday engagement is lower, concentrating in the late afternoon and evening.
Tanzania: Saturday as a Corridor
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Annual rhythm mirrors Nigeria: softening in June–July, rising from August into a Q4 plateau. Top months are November–December, with October close behind.

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Weekly cycle hierarchy is clearer: Saturday is strongest, Sunday elevated but lower, Friday leads weekday peaks.
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Saturday functions as a corridor rather than a sharp spike: activity stays high from 7am–11pm Dar es Salaam time, peaking mid-afternoon to early evening (3pm–7pm). Weekday activity tilts toward evening post-work.
Kenya: Two Clocks in One Market
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Annual curve rises from August into Q4, with December at the peak, October and November following. Low points in June–July.

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Weekly peaks favor the weekend: Saturday #1, Sunday #2.
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Hourly pattern shows dual peaks: a primary late-afternoon to evening spike (3pm–9pm Nairobi time) and a secondary pre-dawn rise (3am–7am), particularly visible on weekends.
DR Congo: The Morning Market
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January remains unusually strong alongside December, which is the top month.

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Weekly cycle follows the familiar weekend pattern: Saturday leads, weekend days generally brighter.
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Hourly peak occurs in the morning, roughly 5am–9am Kinshasa time, shifting an hour later in eastern regions. Weekdays maintain the morning lift, with Saturday adding extra intensity.
Egypt: Friday Leadership and After-Midnight Play
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Annual curve climbs steadily to year-end: December tops, followed by November and October. Softest periods are February and March.

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Weekly cycle differs: Friday peaks, Thursday and Saturday slightly behind, reflecting Egypt’s Friday–Saturday weekend.
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Nighttime engagement is strongest in the group, concentrating after midnight (2am–5am Cairo time), consistently across all days of the week.
The Bigger Picture
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Q4 is peak season across all five markets. Nigeria peaks earliest (October), while Tanzania, Kenya, DR Congo, and Egypt maintain high engagement through November–December. Four markets soften mid-year, Egypt peaks late winter.
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Weekend structures explain weekly splits: Saturday for Nigeria, Tanzania, Kenya, DR Congo; Friday for Egypt.
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Hourly patterns diverge: Nigeria and Tanzania show broad Saturday blocks, Kenya focuses on prime time with pre-dawn tails, DR Congo peaks in the morning, Egypt peaks after midnight. Cross-market scheduling without these insights risks missing most demand.
The post When Africa gambles: seasonality patterns across five countries revealed by Blask appeared first on Eastern European Gaming | Global iGaming & Tech Intelligence Hub.
Africa
Groove Targets Africa’s iGaming Boom at SiGMA Cape Town 2026
Groove Targets Africa’s iGaming Boom at SiGMA Cape Town 2026 , Groove, the defiantly innovative iGaming platform and aggregator, has confirmed its attendance at next week’s SiGMA Africa Summit in Cape Town, signalling the company’s intent to establish a strong presence in the world’s fastest-growing iGaming market.
Africa’s iGaming sector is expanding at unprecedented speed, and Groove is entering not as a spectator, but as a builder, bringing its signature “Unseen Architecture” approach to scalable, compliance-ready aggregation, combined with a commitment to listening before acting.
Leading the company’s presence at the summit will be Yahale Meltzer, Founder and CEO of Groove, whose vision for the continent extends far beyond content delivery.
“Africa is not an emerging market,” Meltzer said. “It is an emerging universe. You feel it in the numbers, the youngest population on earth, mobile engagement that bypasses desktop entirely, fintech leapfrogging traditional banking in ways the West is only beginning to understand. This is not a place where you parachute in with a European playbook and hope it lands. This is a place that demands listening, adaptation, and genuine partnership.”
At Groove, the founding philosophy has always been about rhythm — the pulse that connects operators, providers, and players in sync with seamless iGaming experiences. Africa’s rhythm, Meltzer notes, is distinct.
“It’s mobile-first, payment-adaptive, and hungry for experiences that feel local, not imported. That’s exactly the kind of challenge our architecture was built to solve.”
The structural advantages driving Africa’s iGaming growth are considerable. The median age in multiple key markets is under twenty, smartphone adoption is climbing rapidly, and over ninety percent of iGaming interactions now occur via mobile, bypassing desktop entirely. Fintech integration, through systems like M-Pesa, has brought millions of previously unbanked players into the ecosystem. Regulatory frameworks are also maturing in markets including Nigeria, Kenya, and South Africa, offering licensed operators clearer paths to compliance.
For an aggregator like Groove, whose platform delivers over 15,000 games from 150+ providers via a single API, these conditions represent not just opportunity, but alignment.
Groove’s presence in Cape Town is built around four core objectives. First, forging meaningful operator partnerships. The summit gathers Africa’s most ambitious operators alongside global players seeking regional entry, and Groove will showcase localised content packages, mobile-optimised experiences, and payment-agnostic infrastructure designed for African realities.
Second, deepening regional intelligence. Meltzer emphasises: “The regulatory picture in Africa is not a monolith. What works in Lagos requires adaptation in Nairobi, and something entirely different in Johannesburg. You don’t learn those nuances just from a report, even with Groove Command, our data-driven game matching system. You learn them by sitting in the room with the people who live them.”
Third, offering African operators clear pathways to growth. Fourth, positioning for the long term: attendance at SiGMA Africa is not a checkbox exercise — it signals that Groove views the continent as integral to its global strategy.
“We’re not coming to Cape Town to hand out brochures and fly home,” Meltzer said. “We’re coming to listen, to learn, and to find the partners who see what we see: a region on the cusp of something extraordinary. Groove’s job is to provide the infrastructure and games that turn that ‘something’ into sustainable, thrilling player experiences, whether that’s in Lagos, Nairobi, Johannesburg, or beyond.”
He added: “Africa’s rhythm is rising. We’re here to Groove with it.”
The post Groove Targets Africa’s iGaming Boom at SiGMA Cape Town 2026 appeared first on Eastern European Gaming | Global iGaming & Tech Intelligence Hub.
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