John Hunter And The Mayan Gods

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Thanks to the “rapid growth of crypto currencies” and globally recognisable branding through marketing and sponsorships, this handful of operators are generating the majority of illegal gambling traffic across Europe.

The report also cites brands targeting a specifically banned vertical or product within a jurisdiction as driving black market activity. While markets across Europe have many examples, one such flagged in the report is that iGaming remains illegal for licensed operators in France.

“The largest black market operators have scaled to create recognisable brands with traffic that can compare to domestically licensed operators,” the report’s authors wrote. “The top group of sites by common owner has a 12% share of traffic, while the largest single brand has 10%.”

What is John Hunter And The Mayan Gods?

Peter Kesitilwe, CEO of the AiA, added: “SmartSoft already has significant exposure to African markets, and we look forward to working with their team on issues ranging from B2B licensing and market access to responsible gaming, channelisation and sustainable regulation.”

The AiA said this was the latest example of its objective of bringing industry stakeholders into “constructive dialogue” as Africa’s gambling market develops.

“Our aim is to create an environment in which regulators, operators and suppliers can engage constructively on the opportunities and challenges facing the industry across the continent,” Kesitilwe stated.

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Across some 8,000 pachinko parlours in Japan, machines filled with metallic balls fill expansive spaces, similar to slot machines on a casino floor. Winning balls are tallied and exchanged for non-cash prizes at the parlour, which can then be taken to nearby third-party exchange outlets for cash.

“Pachinko is a huge part of the culture,” says Leckert. She explains the “ease of walking into a pachinko parlour” is irreplaceable.

The sheer scale of pachinko underscores Japan’s complex relationship with gambling. Valued at around $130 billion in 2020, the industry represented roughly 2.5% of Japan’s GDP, highlighting its significant place in the country’s leisure economy.