The Wisecracker Lightning

How to play The Wisecracker Lightning

To all of those I met at the handful of conferences I attended before Covid-19 sent everything to digital, and all of those I met over email or Zoom since, it was a pleasure to meet you. I hope we get the chance to meet again when all of this is over, and you can reach me at any of my contact details listed at the bottom if you want to catch up in the meantime.

I’m still not 100% sure what I’ll be doing next, but I suspect it will still be in the gambling industry. This has been my life for more than a decade, and it’s an industry I continue to love and appreciate. No matter if I continue to write about it or throw myself back into an operations setting, it will always be apart of who I am. If you still want to be in touch, you can connect with me on LinkedIn, or you can follow me on Twitter if you to know whatever tangent I’ve gone off on next.

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About The Wisecracker Lightning

Atucha warns that regulations are often perceived as operator-friendly at the start before governments begin looking to squeeze licensed sectors, likening the process to “boiling a frog”. He has observed similar scenarios in other LatAm markets, with tax increases occurring in Brazil, Colombia and Mexico in the last couple of years.

Rossi believes the ISC in Peru is an example of a government implementing new taxes without truly understanding how the industry works, and the potential impacts on channelisation to licensed offerings.

“Peru has been quite successful in channelling customers into the regulated framework,” Rossi comments. “The risk is that this channelisation can decrease in favour of the black market. We know the black market won’t have any consumption tax.

About The Wisecracker Lightning

While thousands of new casino games reach the market every year – with research suggesting the number of releases is growing by around 10% each quarter – volume does not necessarily equate to variety. Developing something genuinely different means taking a risk, while the industry’s familiar practice of reskinning existing games, or adapting mechanics and concepts that have already proved successful, offers a much safer commercial proposition.

For James Curwen, chief executive at Yggdrasil, the tension between the industry’s need for fresh content and the commercial realities of producing it goes to the heart of the challenge.

“The industry has a content problem,” he says. “There are thousands of games being released and too many of them are variations of something that already exists.