algorithm, we make decisions on which games to release. Additionally, these rankings inform us about what type of games perform the best. One surprise this year was that our non- spinning game, Test Your Strength, was a huge success. Tis has resulted in us developing an entirely new category of games, for a market that is hungry for one.
Everything you produce is created in-house. What is the relationship between animation, sound design and artwork with a game’s verticals?
One of the reasons we’re so efficient is that we have constant collaboration between departments at DWG. Artists design symbols knowing how they will be animated later, sound is selected to match the overall theme of the artwork, and of course math and programming are involved nearly every step of the way in the process of game design. All our departments are interwoven and a change in one discipline can have a ripple effect throughout the design process.
Do you take a different approach to designing a game such as Wealthy Pig, for example, as opposed to a game such as Wonders of Africa? How do you target specific demographics through design?
As we create so many games, we can take risks and experiment with new themes. Because of the efficiency Casino Core affords us, we give game designers and artists the freedom to take risks and innovate. With this variety of games, we can create packages of games for every demographic. In general, we focus on programming a great game with quality math models and art first, then match them to the appropriate demographic once we receive data on the performance of the game.
How culturally respectful are you during the process of designing a game?
We take care to be respectful of the cultures represented in our games. Part of our development process is to screen for potential offensiveness and if we find any issue we are quick to fix it. In general, we’ve found our most inclusive games to be the most successful, so we
The market is saturated with video slots, which is why steppers perform very well in every vertical that we enter – whether it’s land, social or RMG. I see more emphasis on quality stepper games as an upcoming trend. On the other side of the coin, non- spinning games will also become more prevalent in RMG and social gaming – because they offer something different.
P88 NEWSWIRE / INTERACTIVE / MARKET DATA strive to make more of those types of games.
Like the cover of a book – on a landing page the player sees one screenshot and the game title. How do you engage a player into playing a game from this tiny amount of detail? How do you make your game really stand out from the competition? I must give credit to our art team here. When the art team designs game logos and posters, they are mindful that the final product will end up in a thumbnail image amongst 100s of other games. We do our best to create images that will stand out from the crowd.
In what direction do you see the future of slot design heading?
Online there will be more stepper and non- spinning games, such as our Test Your Strength game. I believe that every online casino’s catalogue should be comprised of at least 15 per cent stepper games.
I think the market is saturated with video slots already, which is why we have seen steppers perform very well in every vertical that we enter – whether it’s land, social or RMG. I see more emphasis on quality stepper games as an upcoming trend. On the other side of the coin, non-spinning games will also become more prevalent in RMG and social gaming – just because they offer something different.
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 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124