Why a Major UK Film PR Agency is Expanding into the Gaming Industry

The UK-based public relations firm DDA has been a key player in the film and TV industry for decades, but it is now making a foray into the gaming sector. Founded in 1970, DDA has a strong presence in London, New York, and Los Angeles, with over 150 employees. Recently, the company hired Gemma Cooper, a veteran of the gaming industry, as its director of gaming, and Julie La'Bassiere, a seasoned executive with experience in film and TV, as its chief strategy officer. The convergence of film, TV, and games has been gaining momentum in recent years, with successful adaptations like the Mario and Sonic films, and the Last of Us and Fallout TV series. This trend has led DDA to explore opportunities in the gaming industry. La'Bassiere notes that the company has been working on film franchises based on games for years, but it is now looking to expand its reach into the gaming sector. According to La'Bassiere, the lines between film, TV, and games are becoming increasingly blurred, and audiences are no longer confined to one medium. She believes that DDA's expertise in amplifying client messages to audiences can be applied to the gaming industry, where the company can help publishers, developers, and indies reach a wider audience. Cooper's role is to build a gaming team within DDA, leveraging the company's existing expertise in social media, publicity, and outreach to key outlets. She aims to provide a platform for gaming clients to access DDA's network and expertise, which has been built over 50 years. DDA already works with clients like Netflix and Disney, which are expanding into the gaming space, and the company is looking to support these clients and attract new ones. La'Bassiere emphasizes that DDA is not just focused on AAA games, but also wants to work with indie developers and studios. She believes that supporting smaller players is essential for the growth and sustainability of the industry. The company is entering the gaming space at a challenging time, but La'Bassiere is optimistic about the opportunities that this presents. The gaming industry can learn from the experiences of the film and TV industries, which have faced similar challenges in the past. La'Bassiere notes that the industry will recover from its current crisis, and that being open to new possibilities is key to overcoming adversity. Cooper is hopeful that the growth of indie studios and the delay of AAA games will create opportunities for new entrants in the market. Looking ahead, Cooper and La'Bassiere believe that the convergence of film, games, and TV will continue to accelerate, with technology playing a key role in shaping the entertainment landscape. La'Bassiere envisions a "borderless world" where audiences can access films, games, and TV shows from anywhere, without boundaries or restrictions. This future is not limited to the US and UK, but will be a global phenomenon, with content creators from around the world contributing to the entertainment ecosystem.