Q1. Peter & Sons has built a very recognisable identity in the industry. Was that intentional from day one?
Absolutely. From the beginning our founders knew that Peter & Sons didn’t want to be another studio producing more of the same games. The market already had enough of that. We wanted to build a company where every release felt like a creative statement, something players could recognise instantly, even without seeing the logo.
For us, games are entertainment first. If a game doesn’t create a mood, a world, or a personality, then it’s just a mathematical product. And we believe the industry deserves more than that.
Q2. Peter & Sons is often described as a “craft studio”. What does that mean in practice?
It means we build everything in-house, art, animation, mathematics, sound, and mechanics. Nothing is outsourced. That gives us something incredibly valuable: creative cohesion.
When a game is designed that way, every element supports the same vision. The music reinforces the atmosphere, the art tells the story, and the mechanics amplify the excitement. That’s how games become memorable rather than disposable.
Q3. How long does it actually take to create a Peter & Sons game?
Typically between 22 and 32 weeks, depending on the complexity of the theme and the mechanics involved. Some games require extensive research and visual world-building; others demand complex mathematical structures.
One principle we follow strictly is “one artist, one game”. Every title is owned visually by a single lead artist who is responsible for its entire artistic direction. That creates consistency and gives each game a very strong personality. Players might not know the artist’s name, but they absolutely feel the difference.
Q4. What role does storytelling play in your games?
A very big one. Even if players don’t consciously think about it, they respond to narrative structure. For example, Barbarossa isn’t just a slot anymore; it’s a whole saga. Players recognise the character, the world, and the atmosphere. When you build that kind of continuity, the relationship with players becomes emotional rather than purely transactional.
Q5. As for the Barbarossa trilogy, how do you decide which games deserve a sequel?
We listen carefully to the players. When a game develops a fan base and people keep talking about it long after its release, that’s usually a signal that the world we created has more to offer. With Barbarossa, we realised very early that players loved the character and the adventures around him. So instead of repeating the same formula, every new chapter expands the story and the mechanics.
Q6. Peter & Sons has expanded rapidly in regulated markets. Why is that such a strong focus for you?
Because we believe the future of this industry is regulated and responsible. Working in regulated markets forces you to build better products, technically, legally, and ethically. It raises the bar for everyone. And for a studio that cares about quality and long-term sustainability, that environment is exactly where we want to operate.
Q7. Many studios rely heavily on AI today. Why does Peter & Sons avoid it in game creation?
It’s a conscious decision. AI can be useful as a tool in some industries, but in creative production it often removes personality. Our games are built by artists, mathematicians and musicians who bring their own ideas and instincts into the work. That human element is exactly what makes a game feel alive.
Q8. Your Spotify initiative surprised a lot of people, especially the last album, Neon Love Theory, which was so edgy and cool. Why release game music outside the games themselves?
Thank you! The thing is, music is a real creative pillar for us. Players kept asking if they could listen to our soundtracks outside the games, so we simply made it possible. We love the idea that someone might be cooking dinner, running, or hosting a party and listening to a Peter & Sons track without even playing the game. It extends the world of our games into everyday life.
Q9. Let’s talk about upcoming releases. Which game are you personally most excited about right now?
Right now, it’s Roadquake, launching on May 7. Think endless desert, engines screaming, scrap metal held together by pure madness, and vehicles built to destroy rather than survive. It’s Peter & Sons’ take on the Mad Max world :), and in that wild, post-apocalyptic chaos, speed is power and destruction is part of the show.
Q10. What makes Roadquake special mechanically?
The game runs on a 6×5 scatter-pay grid with cascades, but everything is built to feel like impact. You’ve got doubling multiplier hotspots, vertical and horizontal bombs tearing through the board, symbol transformations, and upgrades; the whole grid is constantly breaking and rebuilding.
Q11. Do you see Roadquake becoming one of the studio’s flagship titles?
It definitely has that potential. It’s bold, it’s visually striking, and the mechanics create a lot of those “big moment” situations that players love. Sometimes you just know when a game has the right energy, and I am sure that Roadquake does.
It definitely can. The setting grabs you instantly; it’s gritty, chaotic, and has that cult, wasteland energy people immediately recognise. Add mechanics that create real “impact moments”, and you get something that sticks from the first spin. Some games take time to grow on players, but this one hits you straight away.
Q12. How would you describe the culture inside Peter & Sons?
Creative, curious, and very collaborative.
We have artists, developers, mathematicians, and musicians, all working closely together from the very beginning of a project. That environment encourages experimentation and allows ideas to evolve naturally.
Q13. Finally, where do you see Peter & Sons in five years?
Continuing the journey we’re on now, but on a much larger scale. We want to grow into a true content powerhouse in the industry while keeping the same creative integrity that defines us today. If we can continue exciting both players and partners while building worlds people genuinely enjoy visiting, then we’ll be exactly where we want to be.