Mobile Game Marketing Agency for Game Studios

The audit that opens an engagement starts at a few thousand dollars and covers the store listing, cohort data and creative library. After that the work is priced as fixed-price scopes rather than a blended retainer, so you can start with one piece and add the rest later. Media spend is separate and stays yours. On the mobile game marketing budget question, the honest answer is that your payback curve sets the ceiling: we agree a target cost per install and a payback window first and size the budget from there.

It starts with monetisation. We read what a player is worth over the payback window you care about, derive the cost per install that maths allows, and only then choose the mix. From there a mobile game marketing plan has three phases: fix the store listing so traffic converts, buy installs in the channels that reach your audience at that price, and keep retention and creative moving so the price does not drift back up. The best mobile game marketing campaigns we have seen ran on ordinary ideas attached to a cost ceiling that was worked out in advance.

Yes. Mobile game user acquisition is scoped, described and priced on the app user acquisition service page, and this page links down to it. In practice that means Apple Search Ads, Google App Campaigns and paid social, structured around a target cost per install and a payback window agreed before launch. The packages sit on the App User Acquisition service page, and the individual pieces of work are the Apple Search Ads and Google App Campaigns scopes, all of them linked from the cards below and from the related services at the foot of this page.

Yes, and it is usually the first thing we do. Store optimisation for a game is different from a utility app: category competition is brutal, the icon and preview video carry most of the conversion, and keyword sets shift with every featured slot and seasonal event. The discipline lives on the App Store Optimisation service page, the fixed-price work is the ASO Optimisation scope, and store listing localisation is a separate scope for when you open a new market. All three are linked from this page.

For most mobile titles the mobile game marketing mix is roughly: store optimisation as the foundation, Apple Search Ads and Google App Campaigns as the dependable volume, paid social for creative-led scale, and creator or community work feeding both awareness and the creative library. The exact split is a consequence of your genre and your payback window. A mid-core title with a long payback curve can afford channels a casual puzzle game cannot, and the mix is revisited every cycle against cohort performance.

Each mobile game marketing campaign gets a single job: a soft-launch campaign exists to read retention and early monetisation cheaply, a global launch campaign exists to buy volume at a known price, and a live-operations campaign exists to bring existing players back around an event. Mixing those jobs into one campaign is the most common mistake we see, because the success criteria contradict each other and nobody can tell afterwards which part worked.

Not a published one. Our public case studies are from other verticals, and we will not dress one of them up as a game case. What we can point to is the named specialist on this account: Muhammad Hijazi Siddiqui has run store optimisation and paid acquisition for mobile games and apps with results including 100%+ tROAS and millions of installs. On a first call he will walk through that work directly, and we will scope the audit against your own numbers.

Studios ask this as marketing your mobile game yourself versus hiring out, but it is rarely all or nothing. Keep everything close to the product: community voice, event calendar, in-game economy decisions. Hand over the parts that need daily attention and specialist tooling: store optimisation, campaign management, creative testing and cohort reporting, with the store-page and lifecycle half of that covered by the App Conversion and Retention service. A common split is that you produce the game footage and we turn it into tested performance creative.

Yes, as a supporting channel. Search demand around a specific title is mostly brand demand that appears after the marketing has done its work, so a game website earns its keep as a conversion and press surface: a fast site, clean technical foundations, press kit, and pages that rank for your own title name before someone else does. If you want that half of the work, it runs through the SEO service and the keyword research, technical SEO and on-page scopes behind it.

Games as products: premium titles sold once, free-to-play games monetised through in-app purchases, subscription titles, and ad-monetised games. That list is the whole of our scope and we keep it that way on purpose. It is the boundary that keeps a studio account in good standing with the ad platforms we buy on, and it keeps the store optimisation and acquisition work we do transferable from one client to the next.

Partly, and we would rather be precise about it. Our store optimisation service is built for the App Store and Google Play, so we do not sell store-page work for PC or console storefronts today. Everything that is platform-independent still applies: performance creative and trailers, press and creator programmes, community work, analytics and attribution. If your title is cross-platform, we take the mobile half plus the platform-independent parts, and the proposal states that split before anything is signed.

Yes, and it is the usual shape of a global release. Each market gets its own store listing treatment, its own creative variants and its own bid strategy, because install cost, competitive pressure and player expectations are not transferable between markets. Each market's assets are produced by native specialists in that language, and the reporting layer above them uses the same definitions everywhere so the markets can actually be compared.