Fincore’s Chief Product Officer:
iGaming’s Shift to In-House RGS Booth 5G40 Fincore
As game supply increases and homepage visibility falls, operators are questioning whether the traditional content marketplace still works. Dominic Le Garsmeur, Chief Product Officer at Fincore, explains why the benefits of greater control and ownership over content are driving brands to bring Remote Gaming Servers in-house.
Bringing Remote Gaming Servers (RGS) in-house is a strategic return to a model that dominated the early days of online gaming. In years gone by, operators built their own servers and content out of necessity as third- party supply was limited. As the market matured, studios flourished, innovation accelerated and aggregators created a competitive marketplace, meaning operators stepped back, sourced games externally and focused on brand, player engagement and promotions.
Today, the dynamics are shifting again – not due to scarcity but because the marketplace is flooded with similar content that struggles to leave a lasting impression. Operators are rethinking how to gain control over the games their players see, play and value, and how to make their offering stand out amongst all of the me-too operator offerings.
Industry figures show that more than 100 new titles launch each week across major regulated markets. Recent research in the Brazilian market by Product Radars shows that approximately 60% of these games vanish from operator homepages within a month. Even high-quality releases require significant operator support to achieve traction.
Tis environment challenges both studios and operators. Content discovery has become inefficient and differentiation harder, with many companies struggling to make the best decision due to third party reliance. Operators are responding by becoming highly selective, focusing on content that they can own, brand and control – a strategy designed to reduce reliance on third parties and maximise long-term value.
One of the strongest drivers for in-house RGS strategy is exclusivity. Operators now prioritise content that only their players can access – not just temporary exclusives but fully owned content that reflects their brand identity.
Tis can include branded games, licensed IPs such as sports teams, or mechanics that are strategically important. Building and hosting content on an in-house platform reduces integration complexity and allows operators to execute long-term roadmaps with more confidence, while still collaborating with creative partners to deliver quality experiences.
Historically, only the largest operators, such as FanDuel and DraftKings, 98
had resources to pursue in-house content at scale but this is no longer the case. At Fincore, we have observed a shift back towards in-house content. Mid-tier operators are increasingly scrutinising their content mix, exploring ownership, long-term licensing and revenue-share models.
By controlling lobbies, promotions and visibility, operators can ensure their own content has the best chance of breaking through and resonating with loyal players. Over time, this reduces reliance on third parties and accelerates the commercial viability of in-house strategies. Our observations indicate that for larger operators, a significant portion of their homepage content now mirrors a Netflix-style approach – more carefully curated titles developed or owned internally.
Tis shift does not eliminate the role of third-party studios. Marquee titles, established brands, recognised IPs and strong niches will always be in demand. However, the pressure on smaller studios is undeniable. Operators are negotiating harder, offering fewer guarantees and rotating content more aggressively.
In response, many providers seek closer, more exclusive relationships with operators, building content directly on their platforms. For some, this provides stability while creating long-term opportunities, including potential acquisition. Te balance of power is evolving, but innovation and quality will always matter most.
Early in-house strategies often focused on table games and simple branded content. Today, operators target high-impact products such as multi-game jackpot pools and high-volume repeat mechanics such as crash games. Te insight is simple: the real value often lies in the game structure rather than themes or audiovisual effects.
Operators are watching trends across markets and deciding which ones they want to own, brand or evolve themselves.
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