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Carrot Top’s legal team told TMZ that the comedian was the target of an extortion attempt in the weeks leading up to his suicide attempt, according to a Sept. 3 court filing obtained by the entertainment website. His attorney alleges that Brian Evans threatened to leak a sex tape involving the 61‑year‑old performer into the court docket unless he received a $500,000 payout.

In response, Carrot Top’s attorneys argued the messages were “a malicious threat to expose Thompson to disgrace… with intent thereby to extort money under the guise of litigation conduct.”

The comedian has headlined the Atrium Showroom since November 2005, performing a high-energy show that mixes prop comedy, blue humor, and topical material and has been extended in later contract deals.

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Yashin points particularly to comparisons with crash games, whose similarly short rounds make them a natural benchmark. A Swipe Games round lasts around eight to 10 seconds, but player behaviour can be markedly different.

Across markets in Latin America, Europe and Asia, Yashin says the average stakes for swipe games display a pattern closer to sports betting than crash gaming. In one market, the average Swipe Games bet was 20 times higher than the average crash-game bet with the same operator.

Retention has provided another encouraging signal. Depending on the market, Yashin says day-one, day-seven and day-30 retention can range from around the crash-game benchmark to between five and 10 times higher. The number of rounds played during a session can also be significantly greater.

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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.