Venice Festival

What is Venice Festival?

Ours is a niche industry, but it is a wonderful and welcoming one, and Calvin Ayre has been a huge part of the poker industry in my time, too. The name has opened doors, helped me speak to some of the biggest and best poker players from around the globe.  

Recent articles have been just important in bringing you, poker fans, the latest news, features that cut to the heart, diamond, spade and club of each issue and hopefully, entertaining you. While to some, the future of online poker is the most vital discussion point, others would like to know what it takes to quit their job and become a professional player.  

There have been many uplifting elements to writing about poker through a global pandemic, as odd as those words must feel to read and certainly are to write. From inspirational quotes to motivate players who are just joining or continue to love the game to what could help players turn pro as an alternative to more difficult careers to sustain (they do exist!), it has genuinely been a job I have treasured and I hope you have enjoyed the content that I and the incredible Calvin Ayre content team have been able to bring you during the past 18 months or so.  

What is Venice Festival?

Recently, Margaret Dunn, portfolio director at WorldGaming, interviewed Sergey Kastukevich, chief technology officer at SOFTSWISS, in a primer of both Tech Race and ICE Hall 7. The pair also shared their perspective on the development of AI in the industry.

Tech Race Summit 2026 takes place on 10 September in Warsaw. It gathers the experts working on the technology behind today’s digital businesses.

According to Kastukevich, Tech Race Summit is filling a genuine void. Although he has seen plenty of business-focused conversation in iGaming, there is almost no dedicated space for engineering and technology discussions.

How to play Venice Festival

Humor works here as a differentiator in a category crowded with interchangeable Hold & Win releases. By giving the Coin mechanic a clear narrative wrapper, a besieged gnome plus flames and flying objects, Play’n GO gives operators a title with an on-screen hook that needs little explanation.

The commercial argument is straightforward. The commercial hook sells itself on screen: Frank, the gnome gang over the fence, and a suburban garden turned battlefield.

Taken together, the release signals a provider comfortable iterating on both a familiar mechanical family and a familiar creative template. The single-Coin structure keeps a multi-feature game legible; GO Ultra supplies the higher-variance ceiling that engaged players look for; and Frank extends a character-first approach that Play’n GO has increasingly used to distinguish its output from the wider Hold & Win field.