Great Northern Games Discord members attended an AMA chat with Game Republic affiliate member Gina Jackson, OBE, of Pitchify. The session focused on how indie developers can improve their chances of securing publisher/investor funding, specifically through better pitching by understanding what publishers look for.
The free Discord chat formed part of Game Republic’s activities for 2026 supported by Official Partners Red Kite Games, Xsolla and Double Eleven. Here are some of the key points from the session that we wanted to share…
“Think about all the questions before you build the pitch deck” Gina Jackson, OBE.
Publishers Are Becoming More Audience Focused
One of the strongest themes throughout the discussion was the focus publishers have on audience fit. With the broad sense of “good games” no longer being at the forefront for publishers, developers can expect to see more strategic views on a game’s alignment to a publisher’s established audience.
“Publishers aren’t looking for everything, they’re looking for games that fit their audience” Gina Jackson, OBE.
If a publisher has built a successful community around horror games, for example, they are far more likely to continue signing horror titles than take a risk on something completely different. In some cases, publishers are even buying back catalogues specifically to broaden their audience reach and create stronger alignment between future releases and existing customers. This also explains why some publishers openly rule out certain genres. Racing games were mentioned as a common example, not because the genre lacks quality, but because some publishers feel they lack the expertise or audience needed to market them successfully. For developers, knowing that information upfront can be hugely valuable and prevent wasted effort. Interestingly, Gina noted that publishers are often clearer about what they don’t want than what they do want. Rather than defining narrow genre targets, many simply establish boundaries around projects that fall outside their strategy.
Pitching Is Emotional Until the Data Arrives
Although publishers rely heavily on market analysis and forecasting, Gina explained that most signing decisions still begin emotionally. A scout or business development manager usually reacts first to the overall feeling of a game. If something immediately stands out visually or conceptually, that emotional response creates momentum internally.
“Most publishing decisions are emotional decisions first; the data comes afterwards” Gina Jackson, OBE.
Once interest is established, publishers begin looking for evidence that supports the commercial case. Developers are increasingly expected to arrive prepared with answers to these questions before the pitch even begins. This shift means that modern pitch decks need to do far more than simply explain the gameplay. Publishers want to see evidence that developers understand their market, their audience, and the practical realities of production and marketing.
Audience Validation Matters More Than Ever
A recurring point throughout the conversation was the importance of audience validation. Publishers want reassurance that players are already responding positively to a concept before they commit funding. That validation can take many forms. Strong engagement on social media, positive reactions at events, successful demo feedback, or impressive retention statistics from playtests can all help demonstrate audience interest.
“The biggest thing people forget is who the audience actually is” Gina Jackson, OBE.
One particularly interesting part of the discussion focused on Steam pages. While many developers assume they should launch a Steam page as early as possible to gather wishlists, Gina explained that many publishers actually prefer developers to wait. Publishers often see the launch of a Steam page as a major marketing moment, and if that launch performs poorly it can be difficult to rebuild momentum later. That does not mean developers should avoid marketing entirely. Instead, the advice was to approach visibility strategically and consciously rather than simply “throwing something online” without a plan.
What Makes a Strong Pitch
One of the most practical sections of the conversation focused on how developers can improve their actual pitch meetings. Gina argued that one of the biggest mistakes developers make is treating the pitch as a one-sided performance. Instead, she recommended beginning meetings by asking publishers what they are actively looking for. Doing this allows developers to adapt their pitch in real time and focus on the elements most likely to resonate.
“The first question in any pitch meeting should be: What are you looking for?” Gina Jackson, OBE.
She also emphasised how important it is to make the publisher’s internal job easier. Scouts and business development staff are usually responsible for advocating for a project internally, meaning they need clear messaging, concise descriptions, and easy-to-share materials they can pass up the chain. Interestingly, confidence and charisma were described as far less important than authenticity and preparation. The most impressive developers were often the ones who could clearly explain why certain design decisions had been made, what risks existed within production, and how they planned to overcome those challenges. Publishers want reassurance that the team understands not only the game itself, but the realities of delivering it successfully.
Knowing When to Move On
One of the more difficult topics discussed was recognising when a project may not be working commercially. Developers can spend months or even years trying to secure funding for a single game, which makes it emotionally difficult to walk away.
“Sometimes it’s not the wrong game, it’s just the wrong time” Gina Jackson, OBE.
Gina suggested that studios benefit from treating projects more like a sales pipeline, with multiple ideas or prototypes developing simultaneously. This creates flexibility and reduces the risk of becoming completely dependent on one pitch succeeding. Sometimes a game simply arrives at the wrong moment. Trends shift rapidly within the industry, and publisher priorities can change just as quickly. A rejection does not necessarily mean a project lacks quality — it may simply mean the timing or audience alignment is not currently right.
Final Thoughts
The publishing landscape for indie games has become more competitive and far more data-driven than it was a decade ago. Publishers now expect developers to understand not just how to make a game, but how to position it commercially and connect it with a clear audience. At the same time, the conversation made it clear that successful pitching is not about becoming a perfect salesperson. More often, it comes down to preparation, clarity, audience awareness, and demonstrating that you have genuinely thought through the realities of making and selling your game. For developers navigating the funding process, those qualities may matter far more than the pitch deck itself.
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