International Game Technology

Project: Internation Game Technology

Design & Production Animator, For The Worlds Largest Gambling Co.

Deliverables

UI / UX, 3D, Motion Design, Hardware Design

International Game Technology is the largest producer of slot machines, and various other casino games in the world. They are also technically the largest casino's in the world. While at IGT I had the privilege of working with some of the finest artists I have ever known. We produced well over fifty titles a year, of various levels of complexity. My roll was to work on Video Slots. These machines were interactive in nature. The customer was asked to quickly ramp up on a game and place wagers based on the rules of that specific title. Once they entered a sort of "Bonus Game" they would play through a wide variety of concepts that were designed in an attempt to win a larger purse. Video and Mega Jackpot games come complete with touch screens, custom cabinets, custom chairs, signage, and sound. Often times they were licensed titles from various tv shows, films, and old fables. The most interesting part of the design process however psychology of gambling and how people interact with the games themselves.

The Central Design Problems

Value Proposition

Graphic Hierarchy

Information Overload

When interviewed, customers report having a basic understanding of what the game costs per play. However when asked about what they stand to gain on any specific spin, they typically only understood the best case scenario, and instead were interested in the personality of a particular game. We learned a lot about different gamblers in terms of region. Players in Las Vegas felt they got a higher value from a game that would play "loose". Where there was a give and take in small amounts. Small highs and lows over time. A German player for instance was just the opposite. They liked "tight" games. What the game lacked in personality it made up for when you win. The low's were lower, but the wins were much greater and further apart.

When everything is bright. Then nothing is. Casino's have a limited amount of designated real estate. So competition is fierce for that floor space. Over time the industry has become brighter and taller, and louder. This leads to obvious problems with usability when it comes to enjoying an experience. Multiply that by an increased level of complexity in most games and you have the formula to fail. Our games had to be bright and in the "House Style" but we really tried to understand what made these games fun, and then simplified everything around that. Sound, vibrating chairs, touch screens, second screens and multi-level displays were all used to complement the "fun" and attract gamers in the casino.

Inundated with bright lights, touch screens, noise, and a drink in hand. The last thing the gamer wants to think about an hour off they're flight is the nuance that a designer built into the Kitty Glitter game their sitting in front of. A lot of effort was put into communicating what was important and any given time. At a glance can the gamer at minimum tell what they're supposed to be rooting for. Hierachy, movement, and the combination of the two is central to understanding without needing to do the last thing any gambler wants to do...read the rules.

Production Process

Typically a games were born in brainstorming sessions. The a group of people working on the project spend some time creating the right mood, and then begin to ask ourselves key questions about what themes, innovations, key differentiators etc might make their way into the project. We take into account the market place and customer information we have at the time. But at the heart of the meeting, the most important question is always….

“ Will this be fun to play ? ”

Once we feel like we have a strong understanding of the premise of a game we break off into groups around the differnt types of work that we’ll need to get going in order to get things going. The game designers will begin by working on rough prototypes of the math model that will drive the game. The artists will begin working on the thematic elements. Sketching rough drawings of the hardware that will house the game, and any new interaction concepts that might be present in the final product

Once these things get moving we’ll begin roughing out prototypes in order to see how things are coming together. Whether the work is fun to play, and making changes as needed

Once we’ve gone through a number of rounds of internal testing and revision, we’ll produce a limited run of games and place them in test areas of partnering casino floors.

This is really where the rubber meets the road. We’ll gain valuable data and most improtantly get a feel for acceptance or rejection from the customers themselves. If the game produces positive results across most of the key indicators, we will produce more of them and we’ll begin selling them

Production Samples

I was involved in these samples, but I did not work alone. Creation of these works was a collaborative process. I worked with the team on teh layout, design, and 3D modeling / animation, and painting. Which aspects of each of these vary's from game to game.

Blast Off