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But through its love of pachinko, social gaming in Japan offers a strikingly different story.

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.

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On the question of who should be responsible for maintaining this understanding, participants favoured a shared model rather than placing the burden solely on one party. 

Before betting, they accepted personal responsibility provided that information was clear. 

During immersive play, however, they wanted operators to take a more active role, through mechanisms such as pop-ups and reality checks.

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Both routes require significant investment. However, as Curwen, adds: “There are plenty of people in this industry with great ideas, brands, audiences or distribution who don’t want to build an entire slot studio from scratch.”

Studio in a Box is designed to provide another option. Yggdrasil handles the technology, infrastructure and support, leaving its partners to concentrate on the brand, creative ideas and commercial direction of their games.

The result, according to Curwen, is “democratising game creation”.