A catalogue puts the whole job on the operator. Here are 300 games - figure out which one does what and which your


players prefer. But an operator’s business is a cycle: bringing players in, converting them, keeping them, growing their


value and potentially moving them towards other games. KATE PUTEIKO CMO, BGaming


subsequently build a marketing campaign around it, but to create a product capable of fitting naturally into an acquisition funnel.


BGaming has consequently begun treating affiliates almost as a second audience for its games. Considerations that players may never notice can have a material impact on acquisition. Visuals, for example, can be designed with advertising-platform moderation requirements in mind, helping campaigns avoid creative rejection and scale more effectively.


“Te player does not notice it, but it decides whether some campaigns scale and live longer,” says Puteiko. Te player nevertheless remains central. Affiliate requirements are an additional development layer rather than a replacement for player-led design.


“We are 100 per cent focused on players,” she adds. “But if you add this layer of requirements and particular decisions made together with affiliates, who have their own processes and requirements in mind, it increases the odds of the game becoming a really good acquisition tool.”


ENTERTAINMENT: GAMES MADE TO BE WATCHED


If Casual responds to changing acquisition behaviour, BGaming’s Entertainment category addresses another fundamental shift: casino games are no longer consumed exclusively by the people playing them. Streaming, social media and short-form video have created an audience that discovers content by watching other people play. For Puteiko, that has effectively changed the “job description” of a slot.


“Slots used to be something you play. Now it also has to be something worth watching.”


Watchability introduces a different set of design requirements. Visible escalation, anticipation and moments worth clipping or sharing become important. BGaming’s Entertainment games therefore tend towards high or extremely high volatility, but the challenge is ensuring the periods between major outcomes remain compelling for an audience.


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