Interview with Print Studios: Slot Features, Mechanics & Innovation
Print Studios has attracted attention in the slot industry for its inventive mechanics, striking visuals and distinctive approach to gameplay. Royal Potato and Holy Hand Grenade exemplify the studio’s offbeat catalogue and its drive to make games that stand apart from familiar releases.
In this interview, Filip Wargéus, Chief Commercial Officer at Print Studios, discusses the ideas and processes behind the studio’s games, the influences on its creative direction and its decision to take a distinct path in the industry.
Q. What was the original idea behind Print Studios, and how has that vision changed since the beginning?
From the beginning, we wanted to build a studio focused on care and quality, with enough freedom to make games we could stand behind. We aimed to move away from a production-line approach and give every release a distinct character. The founding idea still holds, though our approach has matured: we plan more carefully, have gained experience and can expand our work on a larger scale. Creating strong games without compromising that ambition remains our guide.
Q. How do new game ideas usually start at Print, from data, from team creativity, or somewhere unexpected?Ideas can come from a few places.
Market and player data may point to a popular mechanic or an opportunity to try something new. More often, an idea starts with someone on the team: perhaps a visual, an unusual gameplay approach or a theme worth exploring. We make room for unexpected beginnings, too.
Q. Your About Us page says a game is only as strong as its weakest link. How do you ensure that everything—art, math, mechanics and sound—works together?
Close collaboration and a shared process help bring all the elements together. The team combines mathematical design and visuals from the outset, rather than treating either as an afterthought. Each part should support the central game idea: if the mechanics feel intense, the sound and artwork should reinforce that mood. We review the work regularly and speak openly when something needs to change.
You don’t make branded, seasonal, or trend-chasing slots. Is that a creative decision, or part of a bigger plan?
It’s a matter of both creative priorities and business strategy. We want to make original games with lasting appeal, rather than releases tied to a brief burst of attention. Building our own intellectual property is a long-term investment, while a trend may lose relevance within six months. For us, both considerations point in the same direction.
Q. Who is your target audience - are you building games mainly for experienced slot players, or trying to reach a wider crowd?
Our main audience is experienced slot players: people who understand volatility and want more depth in their gameplay. At the same time, we want interested newcomers to be able to follow along. The challenge is to offer layers for seasoned players while keeping the experience clear for those just getting started.
Q. Do you design with certain markets or regions in mind, or do you aim to build something that works everywhere?
Regional preferences matter to us. Tastes in mathematical models, themes and interface design can vary between markets. Even so, we aim to create games with broad appeal, supported by engaging mechanics, confident art direction and a clear player experience.
Q. If you had to pick the top 3 games that represent the “Print Studios identity” best, which would you choose, and why?
- Royal Potato – Its offbeat premise is part of its charm. The blend of comedy and high-volatility gameplay captures much of our personality.
- Out of the Ice – This game demonstrates our approach to visual direction and world-building, along with gameplay that unfolds in layers.
- Holy Hand Grenade – It combines bold artwork, mathematical design and a balance of chaos and control. It feels like a defining statement from the studio.
Q. Your games mix serious, intense design with fun and humour. How do you find the right tone for each one?
We begin with the central mechanic and consider the mood it creates while playing. That helps us decide whether a game needs tension and atmosphere or something more playful and absurd. Humour should emerge naturally rather than be added for its own sake, and we try to pair attention to craft with a willingness not to take ourselves too seriously.
Q. Has there been a project or feature that didn’t work out the way you expected, and what did you learn from it?
Yes. An early feature looked promising in theory but became too complicated once it was incorporated into the game. We learned to pay closer attention to pacing. Even a clever idea needs to be enjoyable in practice, so we now give that question greater weight when developing prototypes and testing features.
Q. If there’s one thing you’d change about the slot industry right now, what would it be?
I’d like to see more original thinking. When studios lean on familiar formulas or focus on short-term results, distinctive ideas can get lost. Taking creative risks and building a recognisable identity could help new work stand out.
Q. What can players expect from Print Studios in the near future - any exciting plans or upcoming games you can share?
The studio outlined several games in development, including mechanics it had not tried before and themes that would take its work in new directions. Without revealing specifics, it said its focus was on lively gameplay, distinctive artwork and experiences with a character of their own.
Evan Carrington brings more than 12 years of experience in the iGaming industry, with a focus on reviewing online casinos, assessing slot games and examining player safety. Their work covers casino licensing, RTP, volatility, bonus terms and withdrawal policies. Drawing on practical testing and independent research, Evan provides clear, evidence-based reviews to help players understand gambling platforms, their features and possible risks.
