Recently Peter & Sons exclusively shared our plans and the magic behind our games with Daily Spins. Here is an English version of this exciting conversation below. 

“Could you start by giving us a short overview of Peter & Sons – when the company was founded, where you’re based, and how the team has grown?

Peter & Sons kicked off in 2019, born from a small crew of friends — myself included — who came from the casual gaming world and shared one simple thought: “Man, casino games look pretty dull. Let’s make something cool.”

We wanted to bring real personality, craftsmanship, and visual flair into an industry that often played it too safe. So we built a studio that felt more like an art collective than a production line — a handful of artists, coders, animators, and sound designers, all obsessed with making every pixel count.

Fast forward to today: two offices in Yerevan and Barcelona, and while the team’s grown, we’ve kept that indie, handcrafted DNA intact. We work in small, agile squads — each one pushing to outdo the other with bold ideas, experimental mechanics, and visuals that make you stop scrolling. 

What does the process of developing a new game look like for you, from concept to finished product from the art perspective?

Every new Peter & Sons game usually starts small — one artist, one programmer, an animator, and a sound designer. It’s like forming a mini band: the artist sets the tone, defining the mood, palette, and overall vibe; then everyone else layers their craft — code, animation, effects, and sound — until the whole thing comes alive.

In the early days, one artist could do both drawing and animation. Today, things are more structured. We have dedicated animators, sound and game designers, who bring depth and polish. 

The difference now is experience. Back then, we were experimenting — taking what we knew from casual games and trying to bend it into casino logic. Today, we actually get the math behind excitement — how volatility, timing, and sound all play together to create that perfect hit of adrenaline. The process has evolved, but the heart is the same: every game starts with an idea that feels a bit crazy — and ends as something unmistakably Peter & Sons.

Looking back, how would you compare your earliest releases with the games you’re launching today?

Oh, it’s night and day — but in a good way. In the beginning, we were guided more by instinct than by any deep understanding of gambling mechanics. We wanted to make games that looked incredible and felt different. Somehow, that raw energy gave our early titles a strange kind of charm — they were wild, unfiltered, and full of personality.

Today, we’ve evolved. We’ve got experienced game designers, mathematicians, and analysts who understand exactly how to balance thrill, volatility, and pacing. The chaos is still there — that’s part of who we are — but now it’s controlled chaos. We know how to blend structure and madness to create something both exciting and sustainable.

Our early games were pure creative impulse. Today, they are sharper, more balanced, because we deeply understand the market, players’ behaviour and operators’ needs. It’s evolution without losing the soul. 

If you had to highlight three Peter & Sons titles that you feel best represent your work, which ones would you choose, and why?

That’s a tough one — but if I had to pick just a few that really capture the spirit of Peter & Sons, I’d start with Ghostfather. That one’s personal. It was one of those rare projects where the vision survived all the way from sketch to final build — the mood, the characters, the strange humour — everything landed exactly how we imagined it. It’s dark, funny, and cinematic, and it really shows our obsession with world-building.

Then there’s the recent Zombie Road, which is pure chaos in motion. It’s fast, loud, and full of transformation — cars turning into barricades, explosions everywhere, weird characters popping up. It feels like an action-packed cartoon that somehow found its way into slots.

Blood Club, another standout. It’s stylish, moody, and atmospheric — you can feel the rhythm of it, from the visuals to the music. 

And okay, I’ll cheat with one more: Bubblegum Robbo. It’s cute and deranged at the same time — anime meets madness. Totally different from the rest, but that’s what I love about it. It proves we can go from gritty noir to sugar-coated insanity and still make it feel like Peter & Sons.

Art and character design play a big role in your games. How do you balance the creative side with the technical and mathematical side of development?

It’s all about balance — chaos meets structure. I come from the art side, so my instinct is always to start with visuals, characters, and mood. But the math — that’s the secret of the future success of the game. 

In the early days, we’d just go wild — wizards, monsters, knights — pure imagination. Now it’s a real collaboration. 

What’s cool is that the art doesn’t lose its soul — it just gains purpose. Every animation, sound, and visual beat now syncs with the gameplay rhythm. That’s when it really clicks — when creativity and logic stop fighting and start dancing together.

Responsible gaming is a key focus across the industry. What measures do you take to ensure your titles meet high standards in this area?

For us, responsible gaming is a part of how we build our games from the ground up. Operating across 19 certified jurisdictions means we’re constantly working within some of the toughest standards in the world, and we take that challenge seriously.

Every new title goes through a process where compliance isn’t an afterthought — it’s baked in from day one. From Europe to Brazil, Ontario to New Jersey, we make sure every release is tailored to local regulations and fully aligned with responsible play expectations.

But it’s not only about meeting requirements — it’s about designing experiences that feel balanced and fair. Our teams think deeply about pacing, volatility, and visual intensity to make sure our games excite players, not exhaust them.

At the end of the day, responsible gaming is about respect — for the players, for the partners, and for the craft. We want people to enjoy the adventure, have fun, and always feel in control. That’s how we keep the magic sustainable.

Finally, what can operators and players look forward to from Peter & Sons in the coming months?

We’ve got a seriously exciting lineup ahead. Right now, the team’s putting the final touches on Barbarossa: Dragon Empire — the next evolution of one of our most beloved series. It’s bigger, bolder, and packed with visual energy: dynamic effects, new characters, and that golden cannon everyone’s going to love.

But that’s just the beginning. Our roadmap for next year includes more than 18 new releases — a mix of originals and sequels, each with its own personality, tone, and mechanic. Expect everything from playful, story-driven adventures to darker, high-volatility titles with experimental features. We’re exploring new math models, fresh bonus structures, and cinematic presentation styles that will make every release feel like an event.

We’ve also got a few collaborations and cross-studio projects brewing under our new Peter & Sons FUSE framework — something we’re incredibly excited about as it opens new creative dimensions for us and our partners.

So yes, Barbarossa: Dragon Empire might steal the spotlight for now, but it’s just the first glimpse of what’s coming. We’ll keep doing what we do best: making games that are bold, beautiful, and just the right amount of weird — in the best way possible.”

If you would like to read this interview in Italian, please visit our media partner’s website.