Best Gaming Influencer Marketing Agencies

House of Marketers runs influencer campaigns for established consumer brands, with TikTok and Instagram as its primary platforms. Co-founder Inigo Rivero was an early TikTok EMEA employee working in strategy and partnerships, as its agency background page explains. Its work covers gaming alongside beauty, AI, food and drink, technology, health and wellness, fitness and pets. Awareness, product launches and ongoing creator programmes sit within that wider offer.

For Dragon City, the agency matched creators to the game’s personality and audience in the USA and Latin America. Entertaining TikTok content combined with paid media to support awareness and installs. The campaign delivered 6M video views and 209K engagements, beating the client’s CPM target by over 50%.

The iFUN Games brief had an acquisition objective in the USA. House of Marketers recruited 50 TikTok UGC creators to tell the story of the game launch. It reports a $1.21 cost per install and $0.12 cost per click. These gaming examples show how the agency changes content and measurement around the brief while keeping creator fit central.

YRS TRULY used the Borderlands launch to connect paid creator work with organic coverage. Its UK campaign for the game reports 27M+ views and 375K watch hours. The work produced 465 content pieces at a 6.07% engagement rate, giving a publisher separate measures of content output, attention and response.

The agency’s Kingdom Come Deliverance campaign built activity around historical interest and the game’s medieval setting. It introduced new audiences to the series, arranged access ahead of launch and supported release with paid and organic content. A filmed creator partnership brought medieval knights into modern-day England.

That campaign reports 16.5M+ views, 800 content pieces and a 7.1% engagement rate. Its cost per view came in 80% below the campaign KPI. The creative choices make YRS TRULY relevant when your world or story can support content beyond a gameplay demonstration. For a sequel, its work also offers a useful reference for keeping existing fans involved while introducing the game to newcomers.

Viral Nation’s PUBG Mobile Star Challenge work combined creator promotion with event content. It activated 142 influencers and generated 360 posts for the global tournament programme. A produced pre-show brought in over 350K viewers, with creators helping audiences follow the event before the finale in Dubai.

The work included advance content, creator travel coverage and filmed interviews. Translation support helped participants take part in the production. For a tournament brief, that shows the operational work behind turning a live event into material for audiences watching remotely.

Its Call of Duty League ambassador programme supported official broadcasts with continuing creator coverage. That campaign reports 96M impressions, 6.2M views and 32% subscriber growth year over year. Creators appeared across video and social channels throughout the season. Viral Nation is a relevant comparison if your objective is a returning audience for competitive entertainment, with subscription growth assessed alongside exposure. The cases connect creator activity to the event experience and the broadcast schedule.

Disobey’s Frostpunk DLC programme reports 2.8M views, 40.1K clicks and 80.2K watch hours. Its combined CPV was £0.02 across influencer activity, paid media and organic outreach. Strategy creators explained game systems, while story-focused content explored the pressure of leadership and public trust.

The team adjusted distribution around each release’s objective. Paid activity moved towards Steam traffic for a systems-led expansion. Short-form content and Spark Ads supported awareness for a narrative-led release. That gives a studio a concrete example of changing the campaign around the content being released.

For PowerWash Simulator DLC, Disobey matched creators to fantasy, nostalgia and cosy gaming interests. The programme reports 6.1M views, 7.7M impressions and 1.5M minutes watched. It mixed Twitch streams with TikTok and YouTube content, alongside organic key outreach. Its work suits a release calendar where each expansion needs its own creative reason to return, while the broader programme keeps the game visible.

Fourth Floor’s Diablo expansion work combined physical gifting with a final livestream. The gifting activity delivered 1.8M views. The livestream generated 2.6M views and over 1M minutes watched, giving the publisher separate results for the creator package and the broadcast.

The campaign is relevant if your release has a visual identity that can carry into a package, a filmed moment or an event. It shows how creator content can give fans something to follow around the launch, with production supporting the idea rather than sitting apart from it.

For Core Keeper, Fourth Floor reports nearly 500K YouTube views. A boosted TikTok post drove over 80K Steam-page clicks. That click figure belongs to the individual post, while the YouTube result describes a different part of the launch. Together, these cases give your team examples of gifting, gameplay content and paid distribution within game campaigns. Its service list also brings production and playtests into the scope you can discuss for your release.

Heaven Media reports over 1M influencer views for PUBG New State. The wider campaign generated over 15M impressions. Keeping those scopes separate gives you a useful way to compare the creator contribution with the broader marketing activity.

For the KartRider Drift UK launch, the agency reports over 18.4K concurrent viewers, 8.55M impressions and 218K link clicks. The launch involved a wider mix that included paid media, so the campaign totals describe that combined activity. Concurrent viewers indicate an audience watching at the same time; link clicks describe a different action.

Heaven Media combines influencer marketing with creative services, public relations and events. Its published work is relevant when your game brief needs those services to work together. You can use the PUBG and KartRider examples to discuss who owns the central idea, how creator activity fits the media plan and how the reporting separates channel delivery. That conversation suits a launch team planning joined-up marketing around a game.

HypeFactory reports 635M+ views and 2000+ creators for RAID Shadow Legends. The programme covered the United States, Latin America and the European Union. Its scale gives a game marketer a reference for a creator programme operating across audiences and languages.

The Hero Wars campaign used YouTube integrations in the United States, Japan and Germany. It worked with creators of different sizes and categories to identify performers. Reported views were 2.3x expected, installs were 2.6x expected and clicks were 2x expected. These figures compare delivery with the campaign’s expectations.

HypeFactory lists performance campaigns alongside brand integrations and ambassador management. That combination makes it relevant if your acquisition brief also needs content that introduces the game to new audiences. The Hero Wars example gives you a practical basis for discussing how creators are tested, what a forecast measures and how results inform the next selection. Agree the expected result and its measurement before assessing a multiple against it.

AFK’s New World campaign for Amazon Games delivered 32.6M views and 22M hours watched. It involved 134 influencers across Europe, Latin America and Southeast Asia. The Twitch programme gives a publisher a reference for sustained gameplay viewing across several regions.

Hours watched add a measure of time to the view total. For a game that benefits from being explored live, that result helps you discuss how a creator programme supports extended play and audience attention. The campaign’s regional delivery also offers a starting point for planning creator selection by market.

For Lilith Games’ Call of Dragons, AFK reports 8M views and 350K engagements. Its stated services include creator management and influencer programmes, alongside seeding and gifting. These cases make it a useful comparison for publishers wanting creators to spend time with a game and bring audiences into that experience. Build the proposed schedule around what viewers should learn about the gameplay, then connect reporting to the campaign objective.

Cloutboost’s Rogue Trader launch campaign generated over 1.42M views and 5.5M impressions. It involved 20 influencers on YouTube and Twitch for Owlcat Games. That gives a publisher a reference for creator discovery around a game launch, with audience delivery separated from the number of creators involved.

For Afterverse’s PK XD campaign, the agency reports over 68M views and 156M impressions with 27 influencers. The work used YouTube and TikTok across multiple countries. The different platform mix is useful when comparing a proposal for a role-playing audience with a brief for a social game.

Cloutboost lists organic creator outreach alongside negotiation and content repurposing. It also offers retargeting and public relations, giving your team specific services to include or exclude in a launch quote. Use its case work to discuss the role of a dedicated video, a live stream and follow-up paid content. Set the audience and the viewing format before comparing headline exposure totals.

GameInfluencer turned the Lies of P launch into a live race to defeat a game boss. The campaign reported 13.2M in total reach and generated 12.4M paid impressions. Twitch content supplied clips for YouTube Demand Gen ads, connecting the live creative idea with paid distribution.

The format gave viewers a reason to follow the action across creator channels. For a platform release or port, that offers a useful example of building an event around gameplay rather than relying on a standard sponsored demonstration.

For Last Flag during Steam Next Fest, GameInfluencer paired US shooter creators with paid distribution on Google and Meta. It reports 349K organic creator views and a 3.69% engagement rate. The team recut creator videos into advertising and adjusted budget between channels during delivery. These cases suit a publisher that wants the creator idea and paid plan developed together. The stated services cover sourcing, content coordination and reporting, with licensing included in the work you can scope.

NewGen’s Mech Arena activation combined creators with out-of-home activity and a championship tournament. The integrated programme generated 1.7M sessions, 220K downloads and 77K tournament entries. Those totals describe the combined programme, including its physical and event activity.

The team brought the game into Santa Monica through billboards and interactive material, alongside creator care packages. Tournament participants were encouraged to share their experience on Instagram. It is a concrete reference for a launch that needs players to encounter the game beyond a sponsored video.

For Rovio’s Angry Birds anniversary, NewGen created scream-powered scooters and a creator race, alongside a Times Square activation. The programme reports over 50M views, 76M impressions and 4M engagements. Its work is relevant when your game has a recognisable idea that can become a physical experience. Creator selection and campaign management sit within its stated services, helping you scope how filmed content connects with event participation and wider audience discovery.