Engines and platforms are the vocabulary. A producer looking for help types the engine and the target platform, and a studio that names both appears for searches that a page about creativity never will.
Services are searched separately from studios. Porting, co-development and staff augmentation are looked for by name, and each attracts a different kind of contract with a different risk profile.
Art outsourcing is its own market. Characters, environments, animation and technical art are commissioned separately from code, frequently by studios rather than publishers, and it is a steady source of work.
Geography matters less than overlap. Clients care about working hours that intersect and about who is available in three weeks, which means the pages should answer time zone and capacity rather than emphasise an address.
Funding comes before the commission. Somebody looking for a studio often starts by looking for help with a pitch deck, a grant application or an approach to a publisher, and those readers come back a year later with a budget.
Quality assurance and certification are bought on their own. They sound unglamorous, they arrive at the end of a project under time pressure, and that is exactly why somebody searches for them at short notice with the money already allocated.
Localisation is commissioned by name. Translation, voice recording, on-screen text fitting and cultural review are separate purchases, and a studio that lists them reaches producers who would never have searched for a development partner.
Live operations are a long contract disguised as a small one. Servers, seasonal content, balance patches and community work continue for years after launch, and describing that part attracts clients who need somebody for the long haul.