Interactive
GAME DEVELOPMENT HIGH 5 GAMES
Concepts go through multiple rounds of consideration. Each is developed to the point wherein it can effectively demonstrate the core gameplay experience. They’re thrown into an arena with past concepts to determine the top three that emerge as winners. Usually, the newer concepts garner greater support, but that’s not a set rule.
We try to follow a program blended of drastically new concepts and variations on known strong models. Sometimes, the greater the risk, the greater the reward.
We usually cap the ideas at around 20. Tose get edited down to about five per math design. Tere are themes that seem to be a universal fit for multiple game designs, but once a subject/theme is committed to production, ideas naturally flow in support of that theme so we rarely return to older ideas.
Concepts go through multiple rounds of consideration. Each is developed to the point wherein it can effectively demonstrate the core gameplay experience. Tey’re thrown into an arena with past concepts to determine the top three that emerge as winners. Usually, the newer concepts garner greater support, but that’s not a set rule.
At what point do you know you have hit upon the concept you want to take forward? And who makes the decision to press ahead with an idea?
Te concept we take forward is usually a clear winner based on the support it earns from the stakeholders. In some cases, the group is torn between two strong concepts.
Our CEO, Anthony Singer always has tie- breaking and veto privileges.
How lengthy or brief is the conceptualisation
stage? And what are the key stages in the process?
Game concepts go weeks and months before they’re in a demonstrable state. Usually the Math/Design Team considers whether a concept is ready to progress to a wider team evaluation. Te determination is then made to move to production, kill, or continue with additional tweaks.
Te general flow is Concept > Prototype> Preproduction> Production> Release. But our process is not strictly linear. We’re not afraid to reset on concepts that feel lackluster even at a mature stage of production.
What is the balance between new and existing assets? Does going in a totally new direction, such as bringing in a new math model or targeting a niche market, present too great a margin of risk?
Of late, we’ve been more open to more drastically new ideas. We certainly pursue permutations of existing concepts, but the whole team has been invigorated by our mandate to discover the new as part of our new tentpole games strategy. It goes in waves and is contextual to performance results we track in the market.
Are there certain genre boxes you need to tick? There is a huge volume of games in the marketplace centring around particular themes, such as Egyptian tombs and leprechauns. Are there Zeitgeist concepts you have to follow which guarantee a certain level of popularity and can you break from these norms?
Tere’s always a natural inclination to gravitate towards and consider the latest and greatest in the market. But speed to market usually negates the effectiveness of this particular strategy. And at the core of design- ANY design- the “new” is usually where you achieve the greatest “delight” response in an audience/market. Te “familiar” works, but effectiveness will naturally degrade.
You recently launched with a new operator partner, Sky Betting & Gaming, as High 5 Games expands its European presence. What do you identify as the key elements for a game to be successful in Europe?
Te online European market is one of the most mature in the industry and players are accustomed to different game themes and math models. Te trick is to have a games portfolio which will appeal to a wide audience. Tat’s why we look to include varying volatility and mechanics in our games to help them stand out. It’s been a key driver behind our recent commercial success, with more operators than ever before taking our content.
NEWSWIRE / INTERACTIVE / MARKET DATA P163
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