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How to play Lost Relics
Marantelli says the London-based White Swan is a significant market maker on several secondary exchanges, accounting for as much as 40% of activity on some platforms. Its particular focus is the RFQ, parlay market.
“Just better margins,” he says of that decision. “I think it’s more defendable. It’s the area that fewer people can do well. So I think it’s more defendable margin, more ability to get long-term contracts and beneficial positions.”
Singles can be profitable, but parlay pricing requires the market maker to calculate the correlations between multiple outcomes and respond dynamically to individual requests. It is a skill set built over years in the sharper regions of the existing sports betting ecosystem.
How to play Lost Relics
Before joining the Ministry of Finance, Fabio Macorin served in Brazil’s Federal Police for 17 years. For a decade, he focused specifically on the investigation and prevention of banking and financial fraud. This experience helped shape his approach to betting regulation, particularly regarding anti-money laundering, financial monitoring, combatting the illegal market and inter-agency cooperation.
Brazil’s regulated betting market formally launched in 2025 and has since become one of the most closely watched regulatory initiatives in the global gaming and betting sector. Macorin, who also served as the SPA’s undersecretary for monitoring and enforcement, has been directly involved in initiatives to combat illegal operators, strengthen cooperation with financial institutions, telecommunications providers and other government authorities, as well as develop data-driven tools for regulatory oversight and enforcement.
Commenting on his election, Macorin expressed his honour at joining the IAGR board and contributing Brazil’s experience to the association’s international work.
About Lost Relics
While thousands of new casino games reach the market every year – with research suggesting the number of releases is growing by around 10% each quarter – volume does not necessarily equate to variety. Developing something genuinely different means taking a risk, while the industry’s familiar practice of reskinning existing games, or adapting mechanics and concepts that have already proved successful, offers a much safer commercial proposition.
For James Curwen, chief executive at Yggdrasil, the tension between the industry’s need for fresh content and the commercial realities of producing it goes to the heart of the challenge.
“The industry has a content problem,” he says. “There are thousands of games being released and too many of them are variations of something that already exists.
