With players able to further enhance their wins using a special star gamble feature, Pantera Rica presents a 3×3 reel slot with nine-paylines and a star gamble feature. The slot has medium volatility with an RTP of 95%. 

Low value symbols are represented by playing card suits, with clubs, diamonds, spades and hearts available. If the right number of winning combinations land on a single spin, these symbols can offer between x1 and x4 the player’s bet. 

Meanwhile, gold coins and toucans depict the high value symbols, providing wins between x8 and x15 the player’s wager. 

Panther wild symbols can also land on the reels, acting as expanding wilds that cover full reels. These symbols substitute for all other symbols in the game and award one free respin where they stay in their position. 

If all three reels become filled with the same symbol, all payouts will be enhanced by an x10 multiplier. 

Furthermore, players can select a respin booster feature. This increases their stake by 150% to increase the chances of landing expanded wild symbols and gaining wild respins. 

After any win, players can select the star gamble feature. In this game mode, players can risk their winnings to increase them. 

Players must guess the colour of a revealed star, with pink and blue to choose from. Selecting correctly will increase their winnings while choosing the incorrect colour returns them to the base game empty-handed. 

If readers would like to test out the Pantera Rica demo for themselves, they can click here to be directed to Tom Horn Gaming’s official website.

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Hoping to become a “key player in Brazil’s rapidly growing gaming industry”, Amusnet has gained the appropriate permission to offer slot releases to the nation’s operators once the Brazilian market begins on January 1, 2025.

“Brazil is a strategically important market for Amusnet, and this certification emphasises our dedication to providing exceptional experiences for players and operators while adhering to local regulations,” said Irina Rusimova, Chief Commercial Officer at Amusnet.

As a result of the certification, online casino players in Brazil’s upcoming regulated market will be able to spin the reels on 160 certified Amusnet slots such as 20 Golden Coins Dice Edition, Hot Deco, 100 Power Hot Dice Edition, Extra Crown, Aztec Dice, Candy Palace, Dancing Dead, Diamond Plus and Virtual Roulette. 

Rusimova continued: “It represents a major step in leveraging our global expertise as a leader in igaming solutions, solidifying our position as a trusted and reliable partner for our clients in Brazil.”

The move sees the studio significantly bolster the position of its slot content in the Latin American market. Amusnet’s LatAm Business Development Officer Georgi Izov recently sat down with CasinoBeats to discuss the firm’s strategy for this region, explaining the importance of localisation. 

He said: “We focus on an in-depth localisation process for each country, ensuring that our games’ themes, mechanics, and aesthetics align with local expectations. 

“Traditional casino-themed games like slots and roulette are widely accepted, but we are also developing exclusive content for LatAm, adapting symbols, characters, and mechanics that appeal to the regional player.”

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CasinoBeats: How important is sound to the overall game experience?

Stefanova: Sound is an integral part of the gaming experience – it profoundly impacts how we perceive visuals, adding depth and emotional context. In slot games, sound not only supports the visual aspects but also provides players with feedback on everything that happens – from big wins to those tense near-miss moments. But sound in slot games differs from sound in other entertainment options. In film and cinema, for example, it can steer the emotion in a completely different direction but in slot games, the role of sound is to amplify the emotion, not to change its direction.

Genov: Sound, and especially music, is vital for any type of visual media, slot games included. Years ago, I did an exercise that I had seen some colleagues do. I scored a movie scene with different genres of music and learned quickly that the sound and music used can turn a scene upside down and this is why sound can make or break a game.

How does sound bring a game to life while also building excitement and anticipation?

G: However brilliantly coded the game is, when playing it silently, it feels a bit bodiless. Sticking the right sound to the action makes it tangible and almost physical. Picking the exact sound that matches the animated movement on the screen is not only satisfactory for the player but keeps them engaged and involved. Player excitement levels rise with the advancement of the game and if you manage to raise the excitement in the music in line with the player’s anticipation, you’ve hit the nail on the head.

S: Sound truly brings visuals to life. For example, in the games we create at Silverback, we’ve conceptually decided that when the player is inactive, we transition from music to ambient sounds (sometimes incorporating elements from the main background music track). At that moment, through sound, we can “paint” everything that isn’t visible, bring to life a static image, and place the player in a specific setting and location, creating entire scenes as if projecting a film. And then, when the player hits the “Spin” button, it’s as if they’ve commanded us “Hey DJ, bring the beat back” – we bring back the full musical background with its complete arrangement.

We pay special attention to the sound that represents the moment of anticipation for winning a bonus. Additionally, during regular gameplay, we aim for the sounds to be more subdued and non-intrusive for longer gaming sessions, while for big wins, we don’t hold back on grandeur.

CB: What goes into designing the sound for each game?

G: There are a couple of key things here – teamwork and creativity – thinking outside the box comes in handy, too. Discussions with the designers always bring incredible results in terms of the sound we create and the overall game experience. Starting with the game theme, we always pick sounds that are typical for that specific environment so that the player feels drawn into the game’s world. In terms of creating sound, and as is the case in films, we use totally different sources from those on the screen to achieve the desired effect. For example, if I want the player to hear a crab walking on sand, I use a toothpick and rice to imitate it.

S: As Valentin said, an art concept is needed before we can start working on the music. Although the visual style usually dictates the genre of the music, we often consult the artist who created the visuals about what kind of music they listened to for inspiration while drawing. The game designer also guides us by providing examples of the kind of audio they envision for the game. We create drafts of the music tracks, align them with the responsible stakeholders, and once we get the green light that we’re on the right track, we move on to fully producing the music. As for the synchronous sound effects – they are created later, once there is a working version of the game.

CB: Is the sound for each game unique or do you have a catalogue of sounds you can use?

S: Each slot game has its own identity in terms of visuals and features, and naturally, the sound needs to reflect that. For the music, we create unique tracks for each game, never reusing the same music. As for the sound effects, we do have a library of sounds, but we use them more as layers rather than as finished products. We pull out pieces, edit, process, and record additional layers of sounds, synchronising them with the animations in the game. This way, from about 10-20 layers of sound snippets, we produce a new sound, crafted to suit the specific in-game event. Occasionally, a sound might work across multiple games – like the sounds for reel spins and stops – but they are mostly specific to each title.

G: With me, it is always a combination of both. There are sounds like winds and clicks that are in abundance in SFX libraries. But again, I always tend to tweak them in accordance with the game – be it the frequency, or the length, or the pitch. So, even if you take a ready-made sound, it needs to be adapted to your world, so that it doesn’t sound foreign or out of content with the game.

CB: What are the biggest challenges faced when it comes to game design?

G: I guess one of the challenges is that even though there are hundreds of game studios, you should try to stay fresh and original. At the same time, the game should load quickly enough, so that the player’s experience isn’t ruined. In this respect, we have to keep a perfect balance between quality and speed. Every day there are new games launched on all platforms, and we as a studio strive to maintain originality in sound, in visuals, and in code clarity and speed.

S: One of the biggest challenges in designing a game’s audio environment is striking the right balance between pursuing originality and ensuring player comfort. A sound might be brilliant on its own but may not be suitable for long gaming sessions, where it could be heard dozens or even hundreds of times. A musical track might sound like a catchy summer hit – you might start humming The melody right away – but it may not be ideal for extended gameplay. Given the need to keep the overall game file size minimal, we can’t afford to create very long musical compositions so as a result, and after numerous repetitions, even the most engaging tunes can quickly become tiresome.

CB: How do you overcome these challenges?

S: When composing music, I often leave a track to rest unfinished while I work on the next one, then revisit it with fresh ears to objectively assess its quality. The player’s experience is the top priority – if something distracts or annoys, I cut it out. Uniqueness is important, but it’s always secondary compared to providing a comfortable experience for the player. If something might irritate, I rework it so it serves and supports the overall experience, avoiding the pursuit of uniqueness for the sake of it. This is certainly the case for synchronous sounds where we need to be ready to remove or rework sounds that are otherwise excellent and fitting on their own but if there’s a chance they might overwhelm the player after many repetitions.

G: We always talk to other colleagues – designers and programmers – about how things can be optimised, especially concerning the user experience. We decide on the loudness, harshness, softness, quality, length and so on so that the combination of code, graphic design and sound achieve their final goal, which is for the player to love the game.

CB: Is sound an area where studios can innovate and differentiate? How does your company approach game sound as a point of difference?

G: I think every area, including sound, is apt for innovation. For example, the introduction of AI is a field where we can experiment. Of course, it’s obviously a very controversial topic but we can make use of the technical side where it can provide concepts, help with research and pull us out of the notorious writer’s block that creators tend to fall into occasionally.

S: We experiment with different genres and technologies to offer players something fresh and exciting. To us, sound isn’t just background noise – it’s a tool for storytelling and creating atmosphere. I believe that through sound innovation, we can make games more memorable and help them stand out in the industry.

Sound in slot games is much more than just filling the silence. It plays a psychological role, enhancing players’ actions and emotions. We truly love what we do at Silverback, and we’re thrilled to have the opportunity to share this passion with the world through our games.

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With the Brazilian market set to come into effect on 1 January 2025, SOFTSWISS has secured permission to offer its online casino aggregation platform to licensed operators as the nation opens its doors to igaming regulation. 

This move signals the igaming provider’s aggregation hub as the first to fully comply with regulations, having completed ‘all necessary preparations’, according to SOFTSWISS. 

Online casino providers such as Pragmatic Play, Evolution and Playtech will gain increased exposure in the Brazilian market as a result of the move, having entered aggregation partnerships with SOFTSWISS’ third-party service. 

Ivan Montik, Founder of SOFTSWISS, commented: “According to our information, the SOFTSWISS Game Aggregator is the first aggregator fully prepared, both technically and legally, to work in Brazil when the new regulations take effect. This is a significant achievement that the team has worked on diligently and systematically. 

“Our work doesn’t stop here – we are actively adding new providers to help our clients expand their presence in this promising Brazilian market, which is no longer ‘the sleeping giant’. It has awakened, and SOFTSWISS is at the forefront of this exciting transformation.”

SOFTSWISS demonstrated its strong commitment to localisation within the Brazilian market earlier this year by appointing Brazilian Formula 1 legend Rubens Barrichello as a Non-Executive Director. 

The igaming provider also recently enhanced its Game Aggregator solution by adding content from 100HP Gaming to its roster of third-party titles.

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As a result of the partnership, Swintt’s collection of traditional slot releases will become available to the Dutch operator brand – adding to the over 2,000 slots, table games and live casino titles offered by the firm. 

As well as games from the provider’s SwinttPremium range, the deal will also include slots from Swintt’s studio subsidiary ELYSIUM Studios. 

Lars Kollind, Head of Business Development at Swintt, commented: “The Netherlands has already proved to be a hugely important market for Swintt this year, so we’re delighted to now have the opportunity to strengthen our online presence in the country by teaming up with Hommerson.nl.”

Games within the provider’s SwinttPremium range include Seven Seven Pots & Pearls and Aqua Lord 2, with the collection of titles offering more traditional slot mechanics and features.

Kollind continued: “With SwinttPremium games proving incredibly popular with Dutch audiences, we’re sure this collection will go on to perform exceptionally well for the operator and we’re looking forward to seeing how releases in the new Elysium Studios – Driven by Swintt range are received by players.”

Meanwhile, games from Swintt’s ELYSIUM Studios subsidiary incorporate more modern slot mechanics and bonus features in games such as I Hate Fairytales, a recent Slot of the Week selection. 

Remco van den Berg, CEO at Hommerson.nl, added: “With more than 2,000 top casino titles available on our platform, Hommerson.nl is famed for providing the best variety of gaming options to players – and this reputation will only be enhanced by our new partnership with Swintt.

“Known for providing a diverse line-up of slots that’s capable of catering to all preferences and playing styles, the presence of SwinttPremium releases and newer Elysium Studios – Driven by Swintt titles will ensure players have no trouble finding their new favourite title at Hommerson.nl.”  

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The Georgia Northern District Court has dismissed the attempted class action lawsuit brought against VGW Holdings by Fair Gaming Advocates. Judge Thomas Thrash dismissed the lawsuit, stating that the court does not have standing to hear the case.

Fair Gaming tried to argue that because VGW accepts Georgia customers, and has two employees who reside in Georgia but work from home, the court was an appropriate venue for the case. Thrash disagreed, noting that the nature of the gaming website did not merit inclusion under the state’s long-arm statute.

“While the Defendants casino gaming websites were certainly accessible by Georgia users and the Defendants accepted payments from Georgia users in order to play the games, the Court finds this limited interaction, without more, insufficient to satisfy the transacting business prong in O.C.G.A § 9-10-91(1),” the ruling read.

“Even if it were, the exercise of jurisdiction under the long-arm statute would offend traditional notions of fairness and substantial justice because the Defendants could not reasonably have expected to be haled into court in Georgia (or any state, for that matter), solely because their websites are interacted with by residents of the state

Thrash also explained that since there is no good or service being delivered to the state of Georgia, VGW sites like Chumba and Luckyland are passive websites and not in the court’s jurisdiction, as ruled in the case Pascarelli v Koehler, which dealt with a hotel reservation website.

VGW had asked the court to compel arbitration for the case, which is where many of these social casino lawsuits have ended up, Thrash opted to deny the order, saying that if the court is not capable of ruling on the case, it is not capable of compelling arbitration.

There is a second VGW lawsuit in the Georgia Southern District Court, filed by Destiny Kennedy. In this case, Kennedy claims she opted out of the arbitration clause of VGW’s terms and conditions, but VGW has said that Kennedy agreed to updated terms and conditions after establishing an account and failed to opt out.

Additionally, the company argued the court did not have standing to hear the case. That suit is still active, pending a ruling on VGW’s motion to dismiss.

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Having launched in October 2023, the Prime Network Jackpot integrates into SOFTSWISS’ partners’ online casino lobbies. With each partner that joins the Prime Network Jackpot, the prize pool increases. 

This has allowed the total prize pool to now be worth over €1m, with one lucky winner from a single casino able to claim the grand prize to become a millionaire. 

“It’s a very exciting milestone for us,” said Anhelina Stasiuk, Head of Business Line at SOFTSWISS Jackpot Aggregator. 

“Over the past year, the SOFTSWISS Jackpot Aggregator and its Prime Network Jackpot feature have evolved significantly. Beyond the hard work of our professional team, this success reflects the high interest in engagement tools within the market. 

“In igaming, prize size matters. I’m proud that we’ve reached a level where we can offer the best solutions.”

SOFTSWISS’ Prime Network Jackpot was launched as part of the igaming provider’s Jackpot Aggregator solution.

Towards the end of last month, this solution was offered to RedStar Casino, adding several games from SOFTSWISS’ supplier partners to the operator’s offering. 

On that deal, Stasiuk stated: “The SOFTSWISS Jackpot Aggregator is constantly evolving. In addition to expanding engagement mechanics such as jackpots, drops, multi-prizes, and Prime Network Jackpot campaigns, we are also broadening our client base and market reach. 

“Regardless of their casino platform, any client can integrate the SOFTSWISS Jackpot Aggregator and easily launch diverse engagement campaigns.”

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The branded turbo game sees players place their bets before pressing a ‘hold’ button. This causes Figo to start freestyling with a football while a multiplier for potential winnings increases.

Hayk Sargsyan, CEO of Galaxsys, commented: “Collaborating with Luís Figo on FIGOAL has been an extraordinary milestone and a project of high importance for the whole team. We were committed to making sure every detail was perfect, as this is not just a game but a celebration of Luís Figo’s incredible legacy. 

“This collaboration also marks a huge step for Galaxsys, as we have partnered up with a football icon of this level to create a game that represents him and resonates with millions of football enthusiasts around the world.”

If players release the hold button before the former Ballon D’Or winner drops the ball, they secure a win multiplied by the active multiplier.

Vigen Safaryan, Chief Product Officer of Galaxsys, added: “From the very beginning, we knew this would be a big and challenging project, but we were incredibly excited to take it on. We dedicated extensive time to developing detailed storyboards and intricate game mechanics. 

“Recognising the remarkable legacy and unique journey of this legendary football player, we introduced a special feature allowing players to choose Figo’s jersey from five options, representing the four clubs he played for and the Portugal national team. 

“We’re proud of the outcome, and I’m confident it will resonate with partners and players, reflecting the care and dedication we put into every detail.”If readers would like to find out more about FIGOAL, they can click here to be directed to Galaxsys’ official demo website.

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With Grammy award-winning producer Afrojack at the helm and Brazilian house duo Dubdogz bringing their signature energy, this electrifying event promises an unforgettable night of music and excitement for the event attendees.

“INFINITY was born in Lisbon, where we kicked off our first EDM festival with top-tier DJs; Don Diablo, Miss Monique, and Darude. Now, we’re bringing that momentum to Rio with INFINITY Rio, taking things to a whole new level,” said Rasmus Sojmark, CEO & Founder of SBC.

In the gaming industry, connections are everything, and INFINITY Rio will provide a unique platform to meet the game-changers driving progress in Brazil. As an event organizer, SBC is known for elevating attendee experiences with VIP treatment, combining business opportunities with world-class networking. By integrating music and entertainment—longtime inspirations for gaming—into the closing party, SBC will offer an event finale that truly captures the energy of the gaming world.

EDM icon Afrojack rose to stardom with “Take Over Control,” becoming a key figure in the genre. Known for collaborations with Beyoncé, Pitbull, and Will.i.am, his accolades include spots on Rolling Stone’s “50 Most Important People in EDM” and Forbes’ “30 Under 30.” Moreover, the DJ’s 2020 track “All Night” climbed to the top of US dance radio charts and earned over 40 million streams, cementing his reputation as an EDM powerhouse.

Sojmark commented: “Having Afrojack headlining the first INFINITY Rio really shows just how massive SBC Summit Rio is going to be. Our delegates are in for an EDM festival experience that mixes world-class entertainment with top-tier networking.

“To give it that special Brazilian vibe, we’re also bringing in Dubdogz, an incredible homegrown duo that is taking the global scene by storm. We couldn’t miss the chance to showcase Brazil’s own talent at an event that’s all about Brazil!”

Dubdogz, Brazil’s twin sensations Lucas and Marcos Ruback are known for their dynamic blend of Brazilian Bass and House, chart-topping hits and a devoted fanbase. Among the few Brazilian acts on the “DJ Mag Top 100,” they’ve performed at iconic stages like Tomorrowland, EDC, and Ushuaïa Ibiza. Their track “Infinity,” a collaboration with Bhaskar, achieved Double Platinum status and surpassed 126 million Spotify streams.

The Riocentro Super Stage, a fresh addition to SBC Summit Rio, will shed its conference atmosphere to host the party, with Afrojack and Dubdogz setting the tone for the Rio de Janeiro Carnival, starting the next day on the 28th of February. 

“We’ve timed SBC Summit Rio 2025 perfectly so attendees can dive into business and then roll straight into the Carnival. With Afrojack and Dubdogz lighting up the stage, the Carnival kickoff is going to be epic,” Sojmark added.

In October, SBC announced superstar DJ Alok as the headliner for the INFINITY party in Rio. However, Alok has had to step down due to personal reasons. The SBC CEO commented: “Unfortunately, Alok won’t be able to join us at SBC Summit Rio 2025 as originally planned due to personal reasons. We’re as disappointed as you are, but these things happen, and we totally understand.

“We’ve worked quickly to ensure the INFINITY Rio party still delivers the electric energy and unforgettable vibe you’re expecting. With Afrojack and Dubdogz taking the stage, we’re confident they’re the perfect replacements to make the night truly spectacular.”

SBC Summit Rio has quickly established itself as the must-attend event for Brazil and has moved to Riocentro, one of Latin America’s largest convention centres, for its 2025 edition. February’s event is projected to attract more than 15,000 attendees.

Alongside this growth, the introduction of the Super Stage will elevate the attendee experience, while the Affiliate Leaders Summit and Payment Expert Summit brands—both of which debuted in Lisbon—are set to make their Rio debut.

Curious about Brazil’s biggest betting and iGaming event? Visit the official website for more details. Want to join us at the event and INFINITY Rio? Early Bird tickets are available now at R$2000 ( ~ $550 USD). Operators and affiliates can apply for complimentary tickets. 

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As a result of the integration, Spinomenal’s collection of in-house slot releases will become available to the online casino brand, including titles such as Baba Yaga Tales, Egyptian Rebirth II and Book of Diamonds. 

Lior Shvartz, CEO for Spinomenal, commented: “We are very happy to announce this latest deal with Admiral Croatia, a pioneering force in the country’s online casino market. Croatia is an important market for us and we expect our games to resonate with casino players here.”

Each title has been made available to Admiral Croatia through Spinomenal’s partnership with Bragg Gaming Group, which facilitated the deal using its aggregation platform. 

The slot provider has continued a campaign of European expansion with this move, having recently taken its slot content to new heights in the UK through a partnership with 32Red. 

“32Red has had long-term success in the UK market and we’re very happy to partner with such a prominent operator,” said Shvartz. “We look forward to 32Red players enjoying our suite of titles.”

Additionally, earlier in the year Spinomenal strengthened the position of its slot content in the Dutch market by offering titles to Jacks.nl, an online casino brand operating under the JVH gaming & entertainment banner.

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