BUILDING BRIDGES BETWEEN WORLDS
Te three categories should not be interpreted as a rigid player journey. Operators have different acquisition strategies and customer profiles, meaning the balance between Casual, Entertainment and Classic can be adapted accordingly.
Puteiko nevertheless sees a broad pattern. Casual is frequently the entry point for newer players, with Entertainment also fulfilling an acquisition role where streamers and content-led marketing are important. Classic is less commonly the initial entry point but can become important as operators seek to retain players and move them towards more sustainable long-term engagement. Tis movement between categories could itself become an important area of product development.
the framework is becoming embedded within BGaming. Development is already divided along the three categories. Casual developers are not judged primarily on whether their games generate the greatest GGR, for example, but on whether those products can attract and convert new players, perform effectively for affiliates and minimise barriers to entry.
Other teams work towards objectives specific to their respective categories. “Te framework isn’t a label we put on top,” says Puteiko. “It’s the way the games are actually built.”
BGaming now wants to encourage a broader industry conversation about defining portfolios according to the problems they solve rather than simply the number or type of games they contain. Te terminology itself may evolve – Puteiko acknowledges that operators do not always use the same definitions for Casual, Instant or Crash content – but the underlying principle is unlikely to change. “Let’s not just throw games
Casual is frequently the entry point for newer players, with Entertainment also fulfilling an acquisition role where
streamers and content-led marketing are important. Classic is less commonly the initial entry point but can become
important as operators seek to retain players and move them towards more sustainable long-term engagement.
BGaming has received requests from operators for titles capable of bridging Casual and Classic or Casual and Entertainment, as well as games that could help move sportsbook customers towards casino. One example is Plinko Hold & Win, which combines the instantly recognisable Plinko format with elements of Hold & Win gameplay. Te effect is almost educational: players encounter a familiar Casual mechanic before being introduced to a mechanic associated with more traditional slot content.
Puteiko believes these hybrid products could develop into a distinct opportunity for suppliers. “Tis might even be a new target or new niche for game providers – creating games that sit between Casual and Classic or Casual and Entertainment,” she says.
FROM GAMES SUPPLIER TO GROWTH PARTNER Te longer-term significance of Tree Game Worlds lies in how deeply
KATE PUTEIKO CMO, BGaming
at operators,” she says. “Let’s offer solutions.”
It is a philosophy that increasingly positions BGaming as something broader than a studio producing individual casino titles. Affiliate conversion, streamer behaviour, player testing, acquisition and retention are feeding directly into product decisions.
Puteiko describes the three worlds as “growth engines,” each intended to address a different part of an operator’s business. Partnerships with affiliates, streamers and player communities have helped shape that approach and, ultimately, the games themselves.
For an industry struggling with an abundance of content, that may be the most important distinction within Tree Game Worlds. Te question BGaming is asking is no longer simply whether a game performs, but what job it performs – and where it fits within the journey from acquiring a player to keeping them.
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