How NipsApp Game Studios Built a Global Game Development Outsourcing Business

A game development company in Kerala, India is now building a set of mobile games tied to one of Europe’s best-known former royal families.

On September 16, 2026, The RoyaLand Company Ltd. announced that NipsApp Game Studios is developing three free-to-play mobile games for iOS and Android. The announcement was released through GlobeNewswire and attached to a RoyaLand regulatory filing dated the same day.

RoyaLand’s CEO is Emanuele Filiberto di Savoia, grandson of Umberto II, the last King of Italy.

The three games are Regalia Cards, Palazzo Chronicles and Viva Verdi. RoyaLand describes them as the first season of a wider entertainment plan built around its royal and historical identity.

That is the headline.

The more interesting story is the company building them.

What NipsApp Game Studios Actually Does

NipsApp Game Studios is a full-cycle game development outsourcing company founded in 2010 in Trivandrum, Kerala, India. It develops mobile, PC, console, multiplayer, virtual reality, and augmented reality products, with much of its development work built around Unity and Unreal Engine.

The company says it has delivered more than 3,000 projects during its 16 years in business. Its work ranges from conventional video games to VR training, educational software, AR applications, and interactive installations.

There is also independent client data behind the company.

Clutch currently lists 135 reviews for NipsApp Game Studios and an overall rating of 5.0 out of 5. Its review summary points to timely delivery, project management, quality, communication, and flexibility among the themes most often mentioned by clients.

That combination is useful when looking at the company as an outsourcing business.

Game outsourcing is easy to describe as a technical service. A client sends a specification, developers build it, and the client receives the files.

Real projects rarely work that neatly.

Requirements change. A prototype works until ten people connect at once. Apple rejects a build. A founder discovers that the company publishing the app needs its own developer account. Multiplayer starts producing problems nobody saw during local testing. The original budget meets the reality of production.

The companies that deal with those moments well are often more useful than the companies with the longest list of technologies on their website.

NipsApp’s public client record suggests that this side of the business has become a large part of its reputation.

From Games to Government and Public-Sector Work

Calling NipsApp simply a video game company also misses a large part of what it now builds.

One example is Sanad & Rahma, an educational application that NipsApp says it developed for the UAE Ministry of Health and Prevention.

The Unity-based project uses game mechanics and interactive scenarios around healthcare and nursing. NipsApp describes it as a project designed to help Emirati users learn about healthcare careers through decision-making and simulated situations rather than conventional lessons.

It is game development, but there are no high scores or boss battles at the centre of it.

The same development skills used for entertainment are being applied to education.

NipsApp has followed a similar path with augmented and virtual reality. Its work now includes VR training, AR applications, simulations and interactive experiences alongside mobile and PC games.

That shift is happening across the game development industry. Unity and Unreal Engine are no longer used only to build entertainment. The same engines can power a museum installation, training simulator, product experience, or tourism application.

NipsApp has found work in all of those areas.

In Poland, Game Technology Went Into a Museum

A project in Poland gives a clearer picture of what that looks like.

Codebara, a Polish technology company that works on museum and cultural installations, hired NipsApp to modernize three applications. According to a verified Clutch review from Codebara owner Grzegorz Rekowski, the work involved moving from static video to real-time 3D rendering, reconstructing historical scenes, improving lighting, and adding interactive viewing features.

Rekowski described the collaboration as “flawless.”

Codebara’s own website lists work for Polish museums, cultural institutions and national parks, including applications built using Unity, Unreal Engine and VR hardware.

NipsApp has also publicized its work on a permanent Warsaw museum installation built around real-time Unreal Engine 5 scenes showing the city across different periods surrounding World War II.

It is an interesting use of a game engine.

Instead of controlling a character inside a virtual Warsaw, museum visitors look through physical window-like installations and see historical versions of the city rendered in real time.

The technology is familiar to game developers. The final product is not a game.

AR, VR, and Tourism Are Becoming Part of the Same Business

The Middle East has been another area where NipsApp has pushed beyond conventional gaming.

The company says it has worked on AR, VR, tourism, educational, and public-sector projects in markets including the UAE and Qatar.

Public documentation is stronger for some of those projects than others. The UAE Ministry of Health work, for example, is openly documented by NipsApp. Some tourism projects are covered by client confidentiality or are delivered through other contractors, which makes the final government customer harder to independently establish.

That distinction matters.

The interesting point is not collecting government names for a client list. It is that a studio originally built around game production now has a business that includes education, tourism, healthcare, museum work, VR training, and AR.

That is becoming a common direction for experienced game teams.

Real-time 3D has escaped the games industry.

Then There Are the Small Clients

The large projects make better headlines.

A smaller project may tell us more about how NipsApp works.

Saurab Bhandari, founder of Mumbai-based Cozy Bear Studios LLP, came to NipsApp with an early version of a social party game called ANONYM.

He had already used AI tools to put together a prototype and prove that the basic idea worked.

But a prototype is not a published game.

NipsApp rebuilt the product around room-based multiplayer, anonymous voting, content systems, art, user experience, advertising, testing, and the work required to get the game through the Apple App Store and Google Play.

ANONYM eventually shipped under Cozy Bear Studios LLP on both platforms.

The interesting part happened around the development work.

According to Bhandari’s account, the NipsApp team also helped with issues that were not really game-development tasks. That included guidance around forming Cozy Bear Studios LLP, setting up an Apple Developer account, and dealing with the publishing requirements a first-time founder encounters before an app can go live.

Bhandari later described NipsApp as “incredibly client-oriented, extremely flexible” and said the team understood what a client actually needed. He has also posted public feedback for the company through Google.

That is a much better measure of an outsourcing relationship than a company simply saying it provides customer-focused development.

There is a difference between finishing a build and helping a client ship a product.

When Every Small Change Does Not Become Another Invoice

Outsourcing relationships often break down around scope.

The client thinks a change is small.

The developer says it is outside the agreement.

The project manager produces a change request.

A week disappears.

Sometimes the developer is right. Scope control exists for a reason, and studios cannot absorb unlimited extra work.

But good outsourcing also requires judgment.

The ANONYM case is interesting because NipsApp says it helped with several matters outside the original development scope without adding those items to the client’s invoice. Bhandari’s own feedback backs up the broader point that the team accommodated repeated changes and helped him through problems outside the game itself.

That does not mean working for free should become a business model.

It means understanding that sometimes spending an hour solving a client’s problem is more useful than spending an hour arguing about whether it is billable.

For startups, that can make a large difference.

Many first-time founders do not know exactly what they need when development begins. Part of the job is helping them reach the point where the product can actually be released.

Why 135 Client Reviews Matter More Than a Services Page

Almost every game outsourcing company can produce a website containing the same words: Unity, Unreal Engine, mobile, multiplayer, VR, AR, blockchain, and AI.

Those words tell a buyer what a studio says it can do. They do not tell the buyer what happens six months into a difficult project.

That is why NipsApp’s 135 Clutch reviews are more interesting than another list of services.

Clutch’s current summary repeatedly identifies timely work, project management, quality, communication, proactive work, and flexibility in the company’s client feedback.

It does not mean every project will go perfectly. No development studio can promise that.

It does give prospective clients a fairly large public record to examine before making a decision.

That matters in outsourcing, where a client may be sending months of development work, intellectual property, and a significant part of a startup’s budget to a team in another country.

Trust is not a slogan in that situation.

It is part of the product.

RoyaLand Brings the Story Full Circle

This brings the story back to Italy.

RoyaLand is not asking NipsApp to produce one isolated mobile title.

The studio is developing three games for the same wider entertainment property.

Regalia Cards is a multiplayer card game. Palazzo Chronicles combines match-3 play with castle building. Viva Verdi is a trading card game tied to the Risorgimento period.

All three are planned for iOS and Android and share the RoyaLand identity. RoyaLand said in September that the titles form “Season 1” of its mobile game plans.

That requires more than assigning three teams to three games.

The products have different mechanics but have to belong to the same world. Art direction, historical references, user experience, and brand identity have to make sense across all of them.

For NipsApp, it is another step away from the idea of an outsourcing studio as a group of developers hired to complete individual tasks.

The role is closer to an outside production team.

A Different Kind of Game Development Company

NipsApp is not the only studio following this model.

But it is a useful example of where the outsourcing side of game development is going.

A modern game development partner may be asked to build an iPhone game one month and a VR training simulation the next. The same team may work on multiplayer architecture, an Unreal Engine museum installation, an AR application, or an educational product for a government department.

NipsApp has built its business around that range.

The company reports more than 3,000 projects since 2010. Clutch independently lists 135 client reviews. Its recent work stretches from startup mobile games to public-sector education, museum installations, and RoyaLand’s coming mobile titles.

Those numbers are useful.

But Bhandari’s experience with ANONYM may explain the company better.

He arrived with an idea and an early prototype.

The job was not finished when the software ran.

It was finished when his company could publish it.

That is a simple distinction, but it is also a good definition of what clients should expect from a serious game development outsourcing partner.

The code has to work.

The game has to ship.

And the people building it have to care about both.

Sources and editor reference links

The links below support the main factual claims in the draft. An editor can use them for verification or inline linking.