Pulse

Tentpole Games: Book Of Ra

By Lewis - 1 February 2021

Every major developer, in any industry, has had its breakthrough product that gave the company the platform it needed to become one of the best. A decade on, Greentube’s Book Of Ra remains a true classic that has spawned multiple sequels, been copied repeatedly by suppliers and revered by players alike.

Kicking off a series of features on the greatest games the industry has ever created, G3 discusses the legacy of Book Of Ra with Thomas Graf, CEO at Greentube, who tells us about the slot’s creation, influence and evolving heritage.

Book Of Ra launched during an intense period of genre-defining titles from NOVOMATIC (including Dolphin’s Pearl, Lucky Lady’s Charm to name a few). What was the background to the creation of these titles?

In the 1990s, the gaming markets in Europe were dominated by AWPs and stepper machines from UK companies such as Bell Fruit Games and JPM, Errel from the Netherlands, Cirsa and R. Franco in Spain. NOVOMATIC continued this formula creating a series of specialty products with similar types of AWP machines and, of course, our American Poker II videopoker was our flagship game at the time.

What changed the dynamic was the fall of the Iron Curtain in Eastern Europe, as it paved the way for video slot machines in the sense that demand for new gaming machines escalated very rapidly. At NOVOMATIC we were aware that advanced markets such as Australia had already switched to 100 per cent video products, as opposed to Europe, which continued to be dominated by stepper- style Amusement With Prize machines, such as Electrocoin’s Bar-X in the UK. Every country had its own specific twist on this style of game, including the US, which was also dominated by stepper machines, such as IGT’s Red, White and Blue.

Watching closely the phenomenon in video slots – or pokies – in Australia, we believed this was a very interesting development. Our thoughts were validated when companies such as IGT and WMS also began experimenting with video slots for the US casino market.

Manufacturers in the States, however, focused mainly on entertainment driven game mechanics with multiple bonus features for tourists visiting Las Vegas or Atlantic City casinos at the time, whereas the Australian model targeted more repeat visitors of Pokies Clubs. We had to decide which route to take, follow the US Vegas style entertainment model or the Australian locals market model?

The popularity of Aristocrat machines in German casinos, which were the leading video slot products in casinos at the time, determined our path. We began designing our first portfolio of video slots almost at the same time IGT created Cleopatra, and WMS brought out Reel Em In and later on started the successful licensing deal for its long-running Monopoly range of games; all of which were big successes in the US casino market. Despite this, we remained committed to game mechanics which would better suit frequent players and AWP players at that time.

We were experimenting with a range of different mechanics, varying from low and medium volatilities to very high volatility, such as Dolphins Pearl. I can remember that each of the games we introduced, especially Book Of Ra, took quite a long time to catch the attention of players. Changing the market from stepper to video slots was not an overnight phenomenon.

One of our earliest video slots, BeetleMania, was a game that we introduced initially to the UK casino market and across Europe. It had a distinct comic book style and an entertaining bonus feature that eventually became a big hit, but wasn’t immediately recognised by players. It was a similar story for Dolphins Pearl, and other games with above average volatility, which took two years before players adopted and started to like. Players were not familiar with high volatility games that offered the potential of large winnings while utilising a free games feature.

They didn’t know what to make of these new features, just as initially they didn’t trust the first videoslots like BeetleMania, since it was not a fruit-based stepper game. However, in time, it became a top performing game in multiple markets.

Why do you think Book Of Ra was not an immediate success and what was the tipping point?

The time between 2005, when Book Of Ra was launched, and 2009 was critical as this was the period in which the Russian market both opened and closed. Sales into Russia saw over 100,000 NOVOMATIC machines sold into the market, which were initially single game slots, not multi- games.

Russia was a market that went from zero to more than 200,000 machines and then back to zero in a very short period. It was during this time that multi- games changed the marketplace. Multi-games became the most popular style of machines, with operators switching to compendiums of 10-plus games and Novomatic established its famous MULTI GAMINATOR brand.

Book Of Ra was a solid performer, but it was not our best-selling game in terms of initial customer orders. However, as the game gained traction and momentum, it crept up the rankings thanks to repeat orders. We witnessed increasing numbers of Book Of Ra as it followed Dolphins Pearl and Lucky Lady’s Charm in being especially favoured by Russian players who demanded high volatility. Competitor games offered at that time were entertainment driven, but Russian players loved the core gambler game at the heart of Book Of Ra and its distinct game features.

Looking back with the benefit of hindsight, Book Of Ra was certainly one of the most significant milestones for the Group, as it established NOVOMATIC in the CIS region. While this only lasted until 2009, when the market effectively closed, by that time the game was firmly established and making inroads into other territories, not only Eastern Europe, but Western Europe too.

Historically, AWP focused street machine markets, such as Germany and Italy, were fundamentally changing at this time. Book Of Ra transcended different markets and boundaries arriving at a pivotal point in their development and at a time when high volatility video slots were beginning to be accepted by players. Each market embraced the game, leading to high performance across the board.

Distribution also played a large part in the success of Book Of Ra. In Germany, for example, where there are over 100,000 NOVOMATIC Multigame machines in arcades and bars, and across Italy, a market with over 35,000 Novoline VLTs, Book Of Ra continues to account for over 50 per cent of revenue, which is quite significant.

What role did the Egyptian theme play in the success of Book Of Ra?

In the mid-2000s, Egyptian themed games were quickly gaining popularity, such as IGT’s Cleopatra and Aristocrat’s Queen of the Nile. NOVOMATIC’s videoslot game, Pharaohs Gold, was also one of the top performing titles. It was clear these games struck a chord with players. We found underwater and mystical forest-themed games were also popular at this time, but players were particularly drawn to the art style of Egypt-themed games.

As well as the theme, it’s also important to remember that the Book Of Ra mechanic was unique when the game launched. Yes, many games had used elements such as Free Spins and Trigger features, but Book Of Ra’s expanding symbol had never been seen before. And, obviously, the biggest component in the success of Book Of Ra is its math.

The game was designed to appeal to frequent players and serious gamblers alike and its math defines the game’s stickiness and retention power for these types of player. I believe it was the combination of these ingredients, just as in a blockbuster movie, when you have so many standout individual components that come together to create a great entertaining and rewarding gaming experience. Book Of Ra benefited from a perfect combination of standout individual elements.

Is the creation of Book Of Ra a once in a lifetime deal?

There are so many ingredients stirred into the mix during the creative process that I do believe it’s an unrepeatable event. Game creation isn’t a conveyor belt formula, more of a Black Swan event, and it’s this lack of a distinct formula that means you can become a victim of your own success. Once you create one of the biggest games of all time, how do you follow that? How do you top that?

One of the issues facing the industry right now is a tendency to focus more upon quantity than quality of games output. Part of the problem, in my view, is the shrinking life cycle of games. In the US, the average lifespan of a casino game is six months, which means that US slots suppliers have to develop sometimes up to 200 games concepts per year to satisfy that churn.

This consumes a huge amount of resources, especially when a large percentage of the games created will only have a few weeks to earn their money back.

Another issue is that markets such as Las Vegas demand Intellectual Property games to satisfy a tourist market. Casual players are attracted to licensed brands, but to afford the licences these products must, from necessity, become daily fee games, meaning the casino pays rent to place the games on their floor.

Combine this with an average six-month lifespan and you’ve created an environment in which games are continuously replaced if they start to perform below a certain benchmark. The focus for the developer shifts to a quantity model in which they are incentivised to produce vast numbers of games to ensure they don’t lose their spot on the casino floor.

The reality is that there are only a handful of mechanics that are truly timeless which continue to generate the vast majority of revenue for operators. Every major developer has their portfolio of ‘Greatest Of All Time’ games, whether its Rainbow Riches, Buffalo, Wheel of Fortune or Book Of Ra these are the ones that stay in the charts while everything else is just passing through.

If Book Of Ra was launched today, do you think it would stand out from the crowd?

In the online industry, a new game launches and it’s placed into the operator’s casino lobby and for the first few weeks it’s played by everyone. After its fortnight in the spotlight it’s kicked into the “All Games Section” in which you might have 2,000 slot games competing for the player’s attention and that’s usually the end of it.

I’ve mentioned a number of iconic games that all share something in common, in that they were developed, released and played during a period of limited output. When Book Of Ra was released, online didn’t exist in its current shape. In today’s world, it’s much more difficult to create a point of difference that players recognise as innovative.

There are examples of megatrends in game mechanics, such as Book games, Tumbling reels games, Jackpot games, Megaways games, but they’re increasingly becoming crowded spaces and one of the main limitations is that each new game has a matter of weeks, not years, in which to establish itself. And if it is successful, it will be mercilessly imitated or has to become part of one or more megatrend mechanics.

I would say there are over 100 imitations of Book Of Ra in the market today. Most are pale imitations and it can go as far as infringing on the original game’s IP. Some of these imitations benefitted from circumstances in Germany where Greentube left the market at the end of 2017 due to regulatory changes.

Book Of Ra had been the number one game in the market for a number of years with market leading operators like GVC, but when Germany’s Supreme Court decided that online gaming was illegal, we suddenly had to pull the plug to protect our land- based gaming interests. This created a huge vacuum that was eagerly filled by several imitations of Book Of Ra.

Are games given the time they need to establish themselves in the current climate?

During the development of Book Of Ra there was a gut feeling that it could become an outstanding game as it was ahead of its time, and when playing the game it was unique in its gameplay and feel and completely different from other games in the market at that time. However, it took time and lots of slot machine placements for players to recognise it. If you look at the markets in Europe, the release of games and acceptance of new concepts remains very conservative because of the compliance, fragmentation and regulatory complexity of land-based markets.

It can still take up to six months to receive licence approvals, which means that the turnover of games is not the same as it is in online. Land- based slots stand a much greater chance of exposure, whether that’s in casinos, arcades or single sites. You also know customers have enough time to play the games and appreciate the mechanics.

Does NOVOMATIC having its own locations make a big difference in giving games the time they need?

Yes, I’d say this was the case in Eastern Europe where there’s a high density of Admiral gaming locations, but this was not the case in other markets such as the UK , Spain, Italy or Germany, where most of the Book Of Ra games have been operated by third-party venues. Most of the early installations we conducted in Germany at that time followed a rental model, and if the games were not immediately successful and competitive in terms of performance they would have been removed from site.

NOVOMATIC is renowned as a multi- game specialist, how important is it to include a standout game such as Book Of Ra within the games compilation?

It’s crucial. Having the most popular and successful titles within each multi-game compendium ensures its success. Just as you visit the supermarket for the essentials and the rest of the goods you buy both supplement and complement those key purchases, multi-games operate in the same way. You need to strike a balance too. Most people don’t want to eat hamburger or a schnitzel every day, despite it being your favourite food, and so the games contained within the multi- game package need to be complementary, while also offering variety and difference.

I also believe that there is a critical number of games that make sense within a multi-game pack. In Germany, we saw an escalation of the number of games included within each compilation, which rose quickly from around 20 games to more than one hundred. It’s a problem that’s even more prevalent in the online sector.

With a multitude of games launched every week online, players attempt to keep up with the latest releases. However, the only way to find out if a game appeals to them is to spend money and unfortunately there’s a high probability they’ll be disappointed. We see this over and over. Players test and sample new games, only to return to their tried and trusted favourites.

The volume of games being produced doesn’t correlate with the fact that players are inherently conservative in nature. The revenue share model means that online operators are able to continually add new games to their sites, at the price of a small percentage of the total revenue they generate. Players on the other hand must make a wise decision how to spend their money to trial all these games. Operators do not always favour a player segmentation offering to a slots hypermarket offering and there’s much room for improvement in achieving an ideal customer journey.

Why have so many classic land-based titles transferred successfully into online and mobile hits?

I think it’s a clear reflection of the way people like to play across land-based and online. I continue to be astonished that in the UK, the games played in our Admiral locations are also part of the top performing titles online.

Games played in casinos, betting shops, pubs and arcades like Sizzling Hot and Rainbow Riches perform just as strongly online. These are evergreen games which have been endlessly iterated upon and still continue to entertain players.

The Book Of Ra is 15 years old. Dolphins Pearl and Lucky Lady’s Charm are a few years older than Book of Ra. Each has received multiple makeovers, graphical improvements and deluxe versions, creating a whole family of products from these themes. Once you have a hit game it’s important to both protect and capitalise on that brand.

None of the games we’ve mentioned as classic brands are IP products. Do you think this is significant?

In regard to IP products, you have to differentiate by market. There’s clearly a justification in tourist markets such as Las Vegas or Monte-Carlo to favour licensed games, but for local markets there’s little reason to provide this type of product, especially if it’s on a revenue share basis. In a tourist market, providing a game with instant walk-up appeal is very important. It’s not the game that attracts this type of player, it’s the theme. However, it’s rare in Europe to see this type of player.

If you consider the games we’ve mentioned, Cleopatra, Book Of Ra, Buffalo, Rainbow Riches, Sizzling Hot, Bar-X, Random Runner none of these classic games are licensed products. There are exceptions to this rule, but these are based upon boardgames or game shows like Wheel Of Fortune, Monopoly and Deal Or No Deal. What’s important is not just the theme with these games, it’s the underlying mechanic. The maths is vitally important. No theme or licence can package a poor mechanic and make it a successful game.

How important was Book Of Ra in the success and establishment of Greentube?

It was crucial. Book Of Ra was the first game to launch in Germany that drew the attention of land-based players to the online medium – and it went literally through the roof. Unlike the slow-burn of its land-based slots launch, Book Of Ra’s launch across desktop followed by mobile platforms was an immediate success. I can still remember the launch of the game in December 2012 complemented by an intense marketing push because it was so strong. Performance was driven by the recognition of the game in land-based locations, so the impact of Book Of Ra arriving on digital platforms was massive.

Do you attribute the continued appeal of Book Of Ra on mobile and online to this recognition from land-based?

The Book Of Ra player is often the same young male customer that places a bet in a betting shop and is just as confident wagering and playing slots from his mobile device. The fact that you can play Book Of Ra anywhere, in an arcade, casino, betting shop or via mobile and desktop has created a crossover experience for players who trust the game explicitly. They look for the brand and enjoy it across multiple channels wherever and whenever they find it most convenient 24/7. In this respect it’s extremely important that Greentube gives this player an experience as close as possible to that provided through the land-based gaming machine.

Whatever channel the player chooses, we knew that we had to pay the utmost attention to creating a seamless experience for the customer. Initially, we started with Flash, but as trends shifted, we continued with the development of HTML5. Everyone talks about the challenges of transitioning a game to the multiple online and mobile platforms, but for a game such as Book Of Ra, which has existed across many generations of land- based platforms, we also needed to ensure the player experience was consistent with the machine-based gameplay.

There were distinct differences between the classic Coolfire platform, the legacy slot platform upon which Book Of Ra originally launched, and the latest NOVOMATIC PC powered gaming machines. Everything from graphical limitations to sound design and game speed had to be considered in making sure that Book Of Ra players could enjoy the same experience online and via mobile. I believe Greentube did an incredible job in taking the essence of the game and ensuring it matched the expectations of the players.

How much license do you take in terms of iterating upon the Book Of Ra formula?

It was important to consider from the start the existing player-base and deliver the same, or at least as close to, Book Of Ra experience as possible from land-based. However, it’s not a question about being too precious with the brand as we wanted to experiment and innovate for both existing and new audiences. For example, we’ve added a sixth reel, created a deluxe version using 3D rather than 2D symbols, incorporated jackpot functionality and even added a successful Book Of Ra Roulette and video bingo feature.

I don’t think there are limitations on what Greentube can do with the brand, however, I do see the process as evolutionary, as opposed to revolutionary. We can go quite far in terms of evolving the essence of the game, without altering the fundamental elements, such as the math. There’s still room for further iterations and you can expect a lot more from Book Of Ra as part of this evolution.

What is the legacy of Book Of Ra?

I think it has become one of the pillars of slot video game design having established a plethora of games that did not previously exist. Book Of Ra was the first to market with a new type of game concept that continues to have a significant impact 15 years after its release. It created the most significant slot game megatrend across Europe and beyond. I think this type of prime mover advantage is long-lasting and has created a unique brand recognition with players that is very difficult to replicate. What I couldn’t imagine at the launch of the game was that its legacy would be so long lasting and its impact so great.

And what is the future for Book Of Ra?

More iterations going forward that fuse with other styles of games and mechanics. At Greentube we are seeking to continue to evolve the game into something new and broaden its reach even further in the future. I think the original game will endure while we develop distinct varieties that take the brand in new directions. I can also see, as we’ve shown with Apollo God Of The Sun, that a Greentube online game can make the successful transition to land-based machine gaming. I’d expect our iterations upon the Book Of Ra brand to do the same.