Video Games PR & Marketing · United Kingdom
The UK’s Video Games PR and Marketing Agency.
Launches, updates and studio stories placed with the editors and outlets players already read — earned coverage that moves wishlists, installs and search, not a press release sent to nobody.
- Named games editorsnot link directories
- Built for launch weeksand for live-ops months
- You approve every wordbefore it goes live
- 24×7 helpwe reply in your time zone
As seen in
Studios and games brands we have placed in
National, business and consumer titles our clients’ stories have appeared in.
What a video games PR agency is
What Is a Video Games PR and Marketing Agency?
A video games PR and marketing agency earns attention for a game from people who do not work for the studio. It secures previews, reviews, features, interviews and news coverage in outlets that players, platform holders and publishers already read, and it builds the public record that Google and AI assistants later summarise when somebody searches your title.
Paid media buys impressions. Editorial coverage buys credibility, and the two behave differently. A player who sees an advert learns your game exists; a player who reads a critic describe why the combat feels good learns that somebody independent thought it was worth writing about. That is the difference the agency exists to create.
Studios search for this in a dozen ways — video game PR agency, games marketing agency UK, indie game PR, game launch PR, esports PR agency — but the question underneath is always the same: who can get our game in front of the right people before the window closes?
Where it matters
UK Press Coverage Across Every Games Category
Different games need different desks. A premium console release and a mobile puzzle game are pitched to almost no one in common, and treating them the same is why most campaigns underperform.
PC and console releases
Preview builds, review code, embargo planning and launch-day features with the critics whose scores get quoted everywhere else.
Indie and small studios
The founder story, the design decision or the development history that makes an editor care about a game with no marketing budget behind it.
Mobile and free-to-play
Coverage tied to soft launch, global release and major content drops, aimed at the trade and consumer press that mobile players actually read.
Esports and competitive
Teams, tournaments, roster news and player profiles placed with esports desks and the mainstream sports press that now covers them.
Hardware and peripherals
Review units placed with hardware editors, plus the round-ups and buying guides that drive most peripheral sales.
Games industry and B2B
Funding, studio openings, publishing deals and hiring news for the trade press that publishers, investors and platform holders read.
The moments that matter
The Four Windows Where Games Coverage Changes an Outcome
Coverage bought at the wrong moment is money burned. These are the windows where press moves a number rather than decorating a slide.
Announcement
The first time the world hears the title. Get this wrong and every later beat starts from a cold audience.
The run-up to launch
Wishlists and pre-orders are built here, in the six to eight weeks when previews, hands-on features and interviews land.
Launch and review week
One window, no second attempt. Review code, embargoes and launch features are planned weeks before the date, not after it.
Live-ops and the quiet months
Seasons, updates, esports results and studio news keep a game in the record between releases — which is what search and AI assistants read.
In their words
What Our Gaming Clients Say
UnitedPress understood our game, our audience and the story we wanted to tell. Their approach to media outreach was strategic, professional and focused on getting our project in front of the right people.
James CarterFounder, Independent Game Studio
From launch planning to media outreach, the team was responsive and proactive throughout. They helped us communicate our game clearly and create meaningful interest around the launch.
Sophie WilliamsMarketing Director, Games Publisher
We needed a PR partner who understood the gaming industry rather than treating our campaign like a standard product launch. UnitedPress brought fresh ideas, clear communication and a strong focus on relevant media.
Daniel MorganStudio Director, Video Game Developer
The team made the PR process straightforward. They helped shape our story, identify the right media opportunities and build awareness for our game among a wider audience.
Alex ThompsonHead of Marketing, Gaming Company
UnitedPress was professional, creative and easy to work with. Their understanding of gaming audiences helped us position our title in a way that felt authentic rather than overly promotional.
Oliver BennettCo-Founder, Indie Game Studio
Where you land
The Publications a Games PR Agency Can Reach
Which outlet matters depends on who you are trying to convince — a player deciding what to buy, a platform holder deciding what to feature, or an investor deciding whether the studio is real.
Dedicated games media
- Major gaming news sites
- Review and scoring outlets
- Platform-specific press
- Preview and features desks
Creators and video
- YouTube coverage channels
- Streaming and live play
- Podcasts and roundtables
- Short-form clips desks
Mainstream and national
- UK national culture desks
- Technology sections
- Broadcast and radio
- Weekend features
Trade and business
- Games industry trade press
- Startup and funding media
- Regional business press
- Investor-facing outlets
Services
A Full-Service Games PR and Marketing Practice
Launch and announcement PR
Beat planning, asset timing, embargo management and the pitch angles that earn a feature rather than a news blurb.
Review and preview programmes
Code distribution to the right critics, hands-on sessions, and follow-up that turns a preview into a launch-week review.
Studio and founder profiles
The development story, the design philosophy or the studio history that gives your team a public identity beyond one title.
Esports and community PR
Tournament announcements, roster moves, player features and results coverage for teams, leagues and competitive titles.
Digital PR and search visibility
Coverage built so that your title, studio and founders are what search engines return — not a forum thread from four years ago.
Crisis and reputation work
Delays, layoffs, monetisation backlash and review-bombing handled with a plan, before the first response sets the tone.
Search and AI
Built for Google Search and AI Search Engines
Players no longer only search. They ask ChatGPT, Gemini, Perplexity and Copilot whether a game is worth buying, and those systems answer from independent sources they can cite. A studio with no coverage is not summarised badly — it is left out of the answer entirely.
That is why we plan coverage as a body of evidence rather than a burst of launch-day noise. Multiple credible outlets describing the same game, in the same terms, over time, is what both Google and an assistant treat as a fact worth repeating.
Named and quoted
Your studio and title referenced in text an assistant can lift, not buried in an image or a video description.
Consistent facts
Release dates, platforms, genre and studio details told the same way everywhere, so nothing contradicts itself.
Published over time
A record that keeps building between releases, which is what separates an active studio from a dormant one.
Process
From Brief to Editorial Feature in Four Steps
Tell us about the game
Platforms, dates, audience and what you need coverage to actually do. Sixty seconds, no jargon required.
We tell you honestly
Whether there is a story an editor would run, which outlets fit, and what the realistic window looks like. Free, no obligation.
We build the campaign
Angles, assets, target desks and a beat calendar mapped to your release schedule. You approve every word before anything moves.
Coverage goes live
Placements land, get tracked and get reported, with the search and AI visibility effects measured alongside them.
Who it is for
Who a Video Games PR Agency Is For
Indie studios pre-launch
One shot at a launch window and no budget to waste on the wrong outlets.
Publishers with a slate
Several titles a year that each need their own angle rather than one recycled template.
Studios raising money
Investors search you between the first meeting and the term sheet. What they find matters.
Esports teams and leagues
Results alone do not build a brand. Roster stories, player profiles and league news do.
Games hardware brands
Peripherals and devices that live or die by reviews and buying-guide placement.
Studios with a search problem
Something unhelpful ranks for the studio name, or nothing does at all. Both are fixable.
Practical
How to Get Press Coverage for a Video Game
Whether you hire anyone or not, these decide whether an editor runs your story. Most studio pitches fail on the first two.
Pitch the game, not the announcement
“Our game is out” is not a story. Why it plays differently, or why it was built the way it was, is.
Send code early enough
Reviewers need time to finish a game. Code that arrives two days before launch gets a rushed score or none at all.
Have assets ready
Clean capture, screenshots at usable resolution and a fact sheet. Editors drop pitches that create work.
Pitch the right desk by name
An esports writer does not cover cosy farming sims. Sending to everyone is how you get filtered.
Give a human to talk to
A named developer who can answer a question the same day is worth more than another trailer.
Keep publishing between beats
Studios that vanish for a year read as studios that stalled, to both players and search engines.
The difference
Why Studios Switch from a Traditional Games PR Retainer
| A traditional retainer | United Press | |
|---|---|---|
| Starting point | Onboarding, then a strategy deck | An honest read on whether there is a story, before you commit |
| Commitment | Locked-in months, whatever the release calendar does | Built around your beats, with no contracts |
| Targets | A broad list, sent wide | Named desks and editors chosen for the title |
| Approval | You see coverage when it appears | You approve every word before it goes live |
| Search and AI | Rarely considered | Planned in from the first beat |
| Response time | Office hours in one time zone | 24×7 help, wherever your studio is |
FAQ
Video Games PR: Everything You Need to Know
What does a video games PR and marketing agency actually do?
It finds the story in your game, decides which editors and outlets would run it, pitches them directly, manages review code and embargoes, and keeps the coverage building between releases so search engines and AI assistants have something to cite.
When should we start PR for a game launch?
Six to eight weeks before launch at the absolute minimum, and earlier if you want previews. Review code needs to be with critics well before the date, and the best features are agreed weeks in advance.
Do you work with indie studios?
Yes. Small studios are often easier to place, because the founder and the development story are genuinely interesting. What matters is that there is something real to talk about, not the size of the team.
Can you get our game reviewed?
We can place review code with the right critics and make the case for coverage. No agency can promise a score — a review is the writer’s independent judgement, and any agency saying otherwise is describing something that is not a review.
Will this help us appear in ChatGPT and AI search?
It is the main route. Assistants summarise independent sources. With no coverage, your game does not appear in the answer at all, however good your own store page is.
Do you cover esports as well as games?
Yes. Team announcements, roster changes, tournament results and player profiles are placed with esports desks and with mainstream sports and business press where the story reaches further.
What do you need from us?
Playable code or a build, clean capture and screenshots, a fact sheet, and a named person who can answer a journalist the same day. That last one matters more than studios expect.
We already have a marketing team. Where do you fit?
Alongside them. Your team runs paid, community and store presence; we earn the third-party coverage those channels cannot buy, and the two reinforce each other.
Do you work with studios outside the UK?
Yes. Our desks are strongest in the UK and we place internationally where the story fits. If a market is outside our reach, we say so rather than take the brief.
What happens if a launch goes badly?
We plan for it. Delays, technical problems and monetisation backlash all have a first response that sets the tone, and having that written before you need it is most of the work.
You spent years on it. Do not let launch day be silent.
The worst outcome is not a bad review. It is no one writing at all.
You know the feeling: the build is finally good, the date is set, and somewhere underneath the excitement is the quiet fear that it goes live and nothing happens. Players never hear about it, the wishlists stall, and months of work disappear into a storefront nobody scrolls.
It does not have to end that way. Tell us the game, the platforms and the date, and we will tell you straight whether there is a story an editor would actually run, which outlets fit, and what the realistic window looks like. If the answer is not yet, we will say so — and tell you what would change it.
🔒 No Contracts • No Obligation • 100% Confidential