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Developed by Pragmatic Play, a renowned game provider, Sweet Bonanza is a 5-reel, 6-row slot game that boasts an impressive 117,649 ways to win. The game is set in a colorful, whimsical world, complete with candy-themed symbols, including lollipops, gummy bears, and even a few surprises. The game’s background is a bright, sunny yellow, which adds to the overall sense of fun and excitement.
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Key Features:
117,649 ways to win
Free Spins Feature with Multiplier
Wild Symbol: Giant Lollipop
Scatter Symbol: Bag of Candy
Retriggerable Free Spins Feature
With its unique features, engaging gameplay, and massive winning potential, Sweet Bonanza is a slot game that’s sure to delight. So, if you’re looking for a new adventure, look no further than Sweet Bonanza Slot by Pragmatic Play. Start spinning today and discover the sweetest of them all!
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The Sweet Bonanza slot features a range of symbols, including:
Regular Symbols: These include the standard playing card values (A, K, Q, J, 10, 9, 8, 7, 6, 5, 4, 3, 2, and 1) as well as a range of fruit symbols (plum, orange, lemon, cherry, and watermelon).
Special Symbols: These include the Wild symbol, which can substitute for any regular symbol to help you land a winning combination, and the Scatter symbol, which can trigger the free spins feature.
Free Spins Feature: This feature is triggered when you land three or more Scatter symbols on the reels. During the free spins feature, all wins are multiplied by 2, and you can retrigger the feature by landing additional Scatter symbols.
Remember to keep an eye on your balance and adjust your bet accordingly to ensure you don’t run out of funds during the game.
With these simple steps and an understanding of the symbols, you’re ready to start playing the Sweet Bonanza slot by Pragmatic Play. Good luck, and may the sweetest wins be yours!
The Sweet Bonanza slot by Pragmatic Play is a highly volatile game that offers a range of exciting features and symbols. In this section, we will delve into the world of symbols and payouts, helping you to better understand how to play the game.
The game features a range of symbols, including low-value symbols such as 9, 10, J, Q, K, and A, as well as high-value symbols like the Golden Egg, the Golden Coin, and the Golden Bar. The most valuable symbol is the Golden Egg, which can award up to 5,000x your bet.
The game also features a range of special symbols, including the Wild symbol, which can replace all other symbols to form winning combinations. The Wild symbol is represented by the Sweet Bonanza logo.
The game’s payout structure is based on a 5×5 grid, with 25 paylines. The minimum bet is 0.25, while the maximum bet is 125. The game’s RTP (Return to Player) is 96.5%, which is relatively high for a slot game.
The payout structure is as follows:
It’s worth noting that the payout structure can vary depending on the number of symbols that appear on the reels. For example, if three or more Golden Eggs appear on the reels, the payout can be as high as 5,000x your bet.
Key Takeaways:
The game features a range of symbols, including low-value and high-value symbols, as well as special symbols like the Wild symbol.
The payout structure is based on a 5×5 grid with 25 paylines.
The game’s RTP is 96.5%, which is relatively high for a slot game.
The payout structure can vary depending on the number of symbols that appear on the reels.
Remember to always check the game’s paytable and rules before playing to ensure you understand how to play the game and what to expect in terms of payouts.
To trigger the Free Spins feature in Sweet Bonanza slot by Pragmatic Play, you’ll need to land a minimum of 3 Scatters (represented by the game’s logo) anywhere on the reels. This will award you with 10 initial Free Spins, which can be retriggered by landing additional Scatters during the feature.
During the Free Spins feature, all wins are multiplied by 2, making it an exciting and lucrative way to play the Sweet Bonanza slot. To make things even sweeter, the Wild symbol (represented by the game’s logo) becomes a sticky Wild, staying in place for the duration of the feature, giving you more chances to win big.
If you’re lucky enough to land additional Scatters during the Free Spins feature, you’ll be awarded with more spins. This can happen multiple times, giving you a total of up to 100 Free Spins. The more Scatters you land, the more Free Spins you’ll receive, making it a thrilling way to play the Sweet Bonanza slot.
So, get ready to indulge in the sweetest of slot experiences and trigger the Free Spins feature in Sweet Bonanza slot by Pragmatic Play. With its exciting gameplay, lucrative features, and potential for big wins, this slot is sure to satisfy your sweet tooth and leave you craving more.
Posted: June 28, 2025 1:06 pm
The issue of taksu is also one of honesty, for the artist and the viewer. An artist will follow his heart or instinct, and will not care what other people think. A painting that has a magic does not need to be elaborated upon, the painting alone speaks.
A work of art that is difficult to describe in words has to be seen with the eyes and a heart that is open and not influenced by the name of the painter. In this honesty, there is a purity in the connection between the viewer and the viewed.
As a through discussion of Balinese and Indonesian arts is beyond the scope of this catalogue, the reader is referred to the books listed in the bibliography. The following descriptions of painters styles are intended as a brief introduction to the paintings in the catalogue, which were selected using several criteria. Each is what Agung Rai considers to be an exceptional work by a particular artist, is a singular example of a given period, school or style, and contributes to a broader understanding of the development of Balinese and Indonesian paintng. The Pita Maha artist society was established in 1936 by Cokorda Gde Agung Sukawati, a royal patron of the arts in Ubud, and two European artists, the Dutch painter Rudolf Bonnet, and Walter Spies, a German. The society’s stated purpose was to support artists and craftsmen work in various media and style, who were encouraged to experiment with Western materials and theories of anatomy, and perspective.
The society sought to ensure high quality works from its members, and exhibitions of the finest works were held in Indonesia and abroad. The society ceased to be active after the onset of World War II. Paintings by several Pita Maha members are included in the catalogue, among them; Ida Bagus Made noted especially for his paintings of Balinese religious and mystical themes; and Anak Agung Gde Raka Turas, whose underwater seascapes have been an inspiration for many younger painters.
Painters from the village of Batuan, south of Ubud, have been known since the 1930s for their dense, immensely detailed paintings of Balinese ceremonies, daily life, and increasingly, “modern” Bali. In the past the artists used tempera paints; since the introduction of Western artists materials, watercolors and acrylics have become popular. The paintings are produced by applying many thin layers of paint to a shaded ink drawing. The palette tends to be dark, and the composition crowded, with innumerable details and a somewhat flattened perspective. Batuan painters represented in the catalogue are Ida Bagus Widja, whose paintings of Balinese scenes encompass the sacred as well as the mundane; and I Wayan Bendi whose paintings of the collision of Balinese and Western cultures abound in entertaining, sharply observed vignettes.
In the early 1960s,Arie Smit, a Dutch-born painter, began inviting he children of Penestanan, Ubud, to come and experiment with bright oil paints in his Ubud studio. The eventually developed the Young Artists style, distinguished by the used of brilliant colors, a graphic quality in which shadow and perspective play little part, and focus on scenes and activities from every day life in Bali. I Ketut Tagen is the only Young Artist in the catalogue; he explores new ways of rendering scenes of Balinese life while remaining grounded in the Young Artists strong sense of color and design.
The painters called “academic artists” from Bali and other parts of Indonesia are, in fact, a diverse group almost all of whom share the experience of having received training at Indonesian or foreign institutes of fine arts. A number of artists who come of age before Indonesian independence was declared in 1945 never had formal instruction at art academies, but studied painting on their own. Many of them eventually become instructors at Indonesian institutions. A number of younger academic artists in the catalogue studied with the older painters whose work appears here as well. In Bali the role of the art academy is relatively minor, while in Java academic paintings is more highly developed than any indigenous or traditional styles. The academic painters have mastered Western techniques, and have studied the different modern art movements in the West; their works is often influenced by surrealism, pointillism, cubism, or abstract expressionism. Painters in Indonesia are trying to establish a clear nation of what “modern Indonesian art” is, and turn to Indonesian cultural themes for subject matter. The range of styles is extensive Among the artists are Affandi, a West Javanese whose expressionistic renderings of Balinese scenes are internationally known; Dullah, a Central Javanese recognized for his realist paintings; Nyoman Gunarsa, a Balinese who creates distinctively Balinese expressionist paintings with traditional shadow puppet motifs; Made Wianta, whose abstract pointillism sets him apart from other Indonesian painters.
Since the late 1920s, Bali has attracted Western artists as short and long term residents. Most were formally trained at European academies, and their paintings reflect many Western artistic traditions. Some of these artists have played instrumental roles in the development of Balinese painting over the years, through their support and encouragement of local artist. The contributions of Rudolf Bonnet and Arie Smit have already been mentioned. Among other European artists whose particular visions of Bali continue to be admired are Willem Gerrad Hofker, whose paintings of Balinese in traditional dress are skillfully rendered studies of drapery, light and shadow; Carel Lodewijk Dake, Jr., whose moody paintings of temples capture the atmosphere of Balinese sacred spaces; and Adrien Jean Le Mayeur, known for his languid portraits of Balinese women.
Agung Rai feels that
Art is very private matter. It depends on what is displayed, and the spiritual connection between the work and the person looking at it. People have their own opinions, they may or may not agree with my perceptions.
He would like to encourage visitors to learn about Balinese and Indonesian art, ant to allow themselves to establish the “purity in the connection” that he describes. He hopes that his collection will de considered a resource to be actively studied, rather than simply passively appreciated, and that it will be enjoyed by artists, scholars, visitors, students, and schoolchildren from Indonesia as well as from abroad.
Abby C. Ruddick, Phd
“SELECTED PAINTINGS FROM THE COLLECTION OF THE AGUNG RAI FINE ART GALLERY”