TENTPOLE GAMES IGT: WHEEL OF FORTUNE
a property, so operators keep that version of the game. Generally speaking, operators continually seek to modernise their floor and we modernise the Wheel of Fortune portfolio along with that.
Is Wheel of Fortune still as much of a' tentpole game’ as when it hit the huge heights 20 years ago? Has it lost some of its lustre or sparkle with the launch or brand-new, shinier IGT products?
Boris: We definitely want to make sure that IGT has a diversified portfolio, so we have offerings that hit many different market segments. Wheel of Fortune is still a central part of our product strategy and we build specific product lines and development pipelines around the brand. Wheel of Fortune is very important for us but, that said, I think the market today is very different from what it was back in the 90s when Wheel of Fortune was launched.
From being the first branded theme to what we see now with myriad branded themes out on the floor, being bigger, better, and shinier is all important. I don't think we've neglected Wheel of Fortune in that way. We continually bring Wheel of Fortune up to our latest hardware. We have already mentioned 3D, but our 4D is one of our best-performing themes out there. We've introduced our Megatower slot machine, a giant 11-foot-tall jumbo machine, and that's been hugely successful.
Over the years, we've created implementations like our Super Spin, a giant nine-station machine with nine stations surrounding a giant central wheel. We've not only evolved the gameplay but also the hardware, so I would still say it's very relevant even though the premium space has become crowded with more competitive offerings and competitors.
Dubravka: Wheel of Fortune is the only brand that is also driving hardware. Normally, this is not the case. Te brand is so strong that we invest and develop hardware specifically for Wheel of Fortune.
How is Wheel of Fortune perceived internally? How much responsibility do you feel with every iteration?
Boris: I feel a huge personal responsibility for the brand. I would say there's a
balancing act in how we bring the brand forward. First of all, we're very true to Wheel of Fortune in that we have iterated along with their style guides over the years. We're constantly using their most recent style guide materials to stay current with the show. From a branding and licensing standpoint, we're very true to the brand.
On the gameplay side, there are a couple of things that we try to keep true to maintain the trust we've developed with players over the years. For example,
we want to collaborate with them which is different from other branded titles out there. As Boris says, the emotional investment of players who watched the show for many years is one of the key reasons it has been successful for so long.
What has been the value back to the TV show of having Wheel of Fortune on the floor of so many casinos? How does the game play back into the popularity of the brand and concept of the show?
“We modernise Wheel of Fortune with the show’s involvement – we want to
collaborate with them which is different from other branded titles out there. As Boris says, the emotional investment of players who watched the show
for many years is one of the key reasons it has been successful for so long.”
players of the original games came to expect the wheel spin within a certain frequency, and we have kept that to a large extent throughout our iterations despite bringing all sorts of different gaming mechanics into the game. When players play a Wheel of Fortune game, their primary desire is to spin the wheel, but we also faithfully preserve the sounds, the voice-overs and the Vanna White videos, further deepening player affinity.
We do take risks in some cases. We try different art packages and game mechanics - most work, some don't, but we learn from those mistakes. Tere is a product development skeleton we work with, but we let our game producers have some freedom with updating the game mechanics to make a compelling slot game.
Dubravka: We modernise Wheel of Fortune with the show’s involvement –
Boris: We have a great relationship with Sony and have worked closely with them over the years. In the last five to 10 years, they've been very open with us in how they've been changing the show and we've been very open with them about where we want to take the brand. It's very collaborative.
Sony is the defender of the Wheel of Fortune brand and they are very strict from a branding standpoint, but they give us a pretty long leash when it comes to slot mechanics and gameplay.
Whilst Sony protects the brand, they know that we are the slot experts, so they give us a lot of leeway. We have monthly meetings with Sony’s leadership and the licencing team where our game concepts are reviewed by the producers whose input has been great.
Te slot brand is integrated into the TV show’s identity. Sony has hosted Wheel of Fortune weeks in Las Vegas where IGT has brought slot machines onto the set and they co-located with a customer of ours, Venetian, to do the show on the strip. We also have the 25th anniversary coming up that will see plenty of co-promotion.
Are there other IP's you would put into the ‘tentpole’ category?
Dubravka: IGT’s own Cleopatra, Wolf Run and Scarab have been great successes for us, and Sex in the City has been another great external brand. We always want to use and utilise a combination of internal and external brands and are ever mindful of how we can build up these brands.
Boris: At IGT we always look towards the licensed brands that we have. Of course, Wheel of Fortune is certainly number one, but Sex in the City and the Price is Right have been great brands for us on the premium side. Tat being said, our
P26 WIRE / PULSE / INSIGHT / REPORTS
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