Kateryna Goi

Localization beyond visuals Latin America is a key region for Belatra and that games are tested together with local operators. In practice, what actually changes when you localize a game for LATAM markets — is it mostly themes and visuals, or do you also adapt game math (volatility, RTP bands, session length)?

Localization for Latin America goes far beyond just themes and visuals — although those are often the most visible elements. First, it is important to realize that Latin America is not a single, homogeneous market. Player behavior in Brazil differs significantly from that in markets such as Peru or Argentina.

At the same time, we observe certain common regional trends—for example, in many Latin American countries, players clearly prefer games with low volatility, which promotes long and stable gaming sessions and aligns well with local players’ expectations. What we often see in the industry is a very simplified approach to localization: you take a top-performing game, reskin it with, say, a Brazilian theme — football or beach vibes — and voilà, you have a “localized” game for Brazil. At Belatra, we don’t follow that path.

We don’t do reskins on existing mechanics. Our strength is in creating unique, original products. And we don’t build separate games for specific regions — instead, we focus on developing a diverse portfolio where any player, from any country, can find something that resonates with them.

There is a common misconception that successful localization always requires creating games tailored to a specific market. In reality, effective global content is often well-received across different regions if its core gameplay mechanics are solid. For instance, our game Princess Suki — which many might assume was designed for the Asian market — is actually in the top 10 in Peru.

It took off there right after release and has remained a favorite ever since. The same can be said of Jackpot Pagoda, which is also among the most popular games on the market. Blast the Bass is also extremely popular across Latin America.

And when it comes to Mummy, it’s a universal hit — it performs strongly in every region. So in summary, this is how we think about localization: it’s not just about themes or visual design—it’s about creating games that appeal broadly to different markets, developing a unique approach to promoting them, and understanding exactly what to offer players in the casino lobby of a specific region.

Evergreen themes vs repetition. Treasure-themed slots and “hidden riches” concepts remain incredibly popular across many markets. From your perspective, why do these themes continue to work so well with players — is it psychological familiarity, storytelling potential, or simply proven gameplay structures? And how do you avoid repeating the same formula when building new titles in that category?

According to market participants (based on information from channels, reports, social media posts, etc.), treasure-themed slots continue to perform well. They combine several powerful factors — strong visual, clear reward anticipation, and flexible storytelling. The theme of “hidden treasures” perfectly captures the player's core desire—to get more than they expected.

However, what truly sustains long-term success in this category is not the theme itself, but how it is executed at the product level. In our case, the reason these games perform consistently well is because we don’t rely on reskinning existing mechanics. Every release within this category is built as a standalone product with its own gameplay identity.

For example, when we launched Mummyland Treasures, it became a global hit, with the main character resonating strongly with players and creating a clear emotional connection. This opened up the possibility for further exploration of this topic — but instead of producing similar titles with minor variations, we took a different approach. We built a broader “Mummy universe,” where the same character appears across multiple games, each featuring completely different mechanics and gameplay experiences.

So instead of repeating the same old formula, we focus on expanding the storyline and innovating the gameplay. In other words, we’re not just creating yet another treasure-themed game—we’re developing interconnected products that revolve around a recognizable hero but always offer the player something new. The treasure theme is essentially an evergreen genre in iGaming, but to stand out, you need either strong gameplay mechanics or a truly original take on the concept.

Simple reskins just don’t cut it anymore—players spot them right away.

From games to universes. You mentioned expanding game worlds like the Mummyverse. Is the industry moving toward something closer to slot franchises, where successful titles evolve into long-term universes rather than one-off releases? And how important are these series for long-term player retention?

I wouldn't say for certain that the entire industry is moving in this direction, but there are certain signs that suggest this topic is clearly of interest. I recently saw an announcement from a large and well-known game provider about the release of a second game based on the same character, with the long-term goal of creating something like a multi-game universe. That did feel… familiar )) On top of that, I had an interesting moment with a media partner who shared a screenshot from an AI chat where they asked about iGaming marketing trends for 2026 — and one of the points mentioned was “Mummyverse-style IP” and creating more immersive, story-driven experiences.

So it seems the idea is already out there, and the industry is at least exploring it. When it comes to long-term player retention, the value is quite obvious. If the first game in a universe truly resonates, players are much more likely to come back for the next releases — not just because of the mechanics, but because they already have an emotional connection with the character or the story.

There’s a level of familiarity and expectation that works in your favor. I actually had a moment at an exhibition when someone came up to me and said, “Your Mummy is my best friend — I’m waiting for the sequel.” And I think that says a lot.In summary: Localization is deeper than visuals, themes alone don’t win anymore, and long-term success increasingly comes from building something players can recognize, follow, and come back to.