Focus


LICENSING


outset. In order to fully maximise the potential of the brands we work with, I am sure that this will be a recurring theme for us and our development partners in the future.


G3: How are you working to include brand assets with Barcrest Group in the creation of the Britain's Got Talent series of games? What are the key elements that you're looking to include and how important are they in conveying the experience to the player?


The Britain’s Got Talent games include use of images and video clips taken from previous Britain’s Got Talent series’ as well as audio from the show. These elements are integrated with the game- play in order to create a consistent brand experience. We expect players to recognise elements from the show and believe that use of the assets in this way creates a very compelling and entertaining game.


G3: Barcrest Group is utilising tried-and- tested maths models for the licence - not wanting to place an untried game-model on such an important licence. Is this an important factor in your decision to select Barcrest Group as a partner?


Use of proven game models has been combined with some new twists in terms of game-play so that the games benefit from established mechanics but also bring something new to the market. Our partnership with Barcrest Group is a well thought out route to market both commercially and creatively and the development approach has been designed in a way that promotes differentiation.


and TV format then need to help shape implementation of the game. This is a model that we applied rigorously to the Britain’s Got Talent games we have developed with Barcrest Group and we are very happy with the outcome.


G3: How much of a culture change has taken place within FremantleMedia in the creation of this new licensing model since you've a vested interest in its performance?


In January 2011, the FME gambling division was integrated into FME. This move has enabled us to sit our gambling activity alongside all other parts of the FME business. As such, we now benefit from more direct access to the elements required to further develop this area of our business. This is less about cultural


change and more about structural change for us as we would always look to create the best possible product irrespective of the commercial model being applied. Now that we have closer alignment to the main commercial arm of the business, we look forward to leveraging brand potential more actively in order to strengthen the range of products we take to market.


G3: What role does the unlocking of brand assets play in the success of a licensed game in your opinion?


Brand assets are a vital component for success both in terms of the game and also the marketing of a game. This area is something that we are getting very good at and our partnership with Barcrest Group embraced collective consideration of how the assets are used right from the


G3 I JUNE 2011 I PAGE 51


“Brand assets are a vital component for success both in


terms of the game and also the


marketing of a game. This area is


something that we


are getting very good at and our


partnership with Barcrest Group


embraced collective


consideration of how the assets are used right from the outset.”


Simon Murphy, FremantleMedia.


G3: Barcrest Group has a market-leading position in the UK bingo and arcade sector, with a very strong buy-in with operators in the market for both the Cat C and Cat B3 games that you're planning to launch. How much does this influence your decision to work with Barcrest Group as a partner?


The relationship that Barcrest Group hold with operators in this sector is an important part of the mix. However, our partnership would not have emerged without our confidence in Barcrest Group’s ability to create great products using brands we work with. On this basis, the development of the partnership was always about the creation of quality games first. Ability to distribute is a natural second.


G3: How close would you describe the collaboration has been between FME and Barcrest Group? You previously worked for IGT in the past - do you need a close working understanding of a games


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68