How did you discover your passion for interactive design and digital media, and how did you learn the skills necessary for your industry? I’ve always been drawn to the blend of creativity and tech, long before interactive design was a “thing.” I think it all started when my parents gave six-year-old me an Atari ST. I’m not sure they realized it at the time, but that pretty much kicked off my obsession with digital worlds! I spent hours playing games and figuring out how they worked. Looking back, that was probably the spark that lit my fascination with using tech to create immersive experiences and tell stories in new ways.

As for my skills, they’ve been shaped by a mix of formal education and a lot of self-initiated learning. I graduated from the Gobelins School in Paris, known for its focus on digital art and design, which honed my understanding of visual storytelling and interactive media. But honestly, the learning never stopped there. I’m big on learning by doing, The real skills came from constantly pushing myself to evolve and keep up with new technologies as the industry grew.

You worked for a while in Paris-based agencies before establishing your own firm makemepulse in 2008. What inspired you to create your own firm? Working in agencies in Paris gave me a strong foundation, but I always felt the creative potential wasn’t fully tapped. There was excitement around digital experiences but not enough bold moves in storytelling and tech. That’s when I saw the chance to do something different: to craft interactive experiences that deeply engage users. That’s how makemepulse was born.

I cofounded the studio with Antoine Ughetto, a collaborator from when we were students. We shared a vision for pushing the boundaries of interactive experiences. Our agency experience gave us insight, but starting makemepulse was about creating a space where creativity and technology could thrive without limits.

At makemepulse, we’ve built a team of likeminded talent, passionate about immersive digital storytelling. We’re constantly pushing the envelope on interaction, emotion and innovative tech. In recent years, we’ve shifted our focus to not just be about best-in-class creative but also about future-facing culture and trying to build a company that is progressive when it comes to our working culture and values. It has been brilliant to see how this is now shaping the work we create and the relationships we are building with our clients.

Having worked on video games in the past with makemepulse, you recently established a wing called makemeplay, developing brand-owned video games for clients. Why do you think branded games is a crucial market to explore? Gaming is the future of experience! We know that for digital first generations like Gen Z and Alpha, their digital selves are natural extensions of their real-world selves, and the value and perspective they have on gaming will see its role in culture shift.

Take the convergence of gaming with film and TV—it’s marked a new era in the entertainment industry. From Riot’s Arcane to live-action adaptations like Fallout and The Last of Us, the lines between traditional media and interactive storytelling are blurring fast. These cross-platform experiences immerse audiences in rich, interconnected narratives, pushing beyond the limits of conventional entertainment. Powered by XR, AR, VR and Apple’s spatial computing, the collapse of the physical-virtual barrier is also driving immersive experiences to new heights. As gaming becomes more accessible and mainstream, its influence now reaches far beyond traditional platforms, shaping how we live in ways we couldn’t have imagined a decade ago.

Branded games fit perfectly into this trend. Gaming is no longer just entertainment: it’s everywhere, impacting how we work, learn and connect. Businesses use gamification to boost engagement, schools enhance learning through interactive experiences, and even healthcare and sustainability are being shaped by gaming.

For brands, games offer a unique way to engage audiences authentically. Unlike traditional ads, games require active participation, which means users are more invested. This creates deeper emotional connections and longer engagement times. For an audience valuing meaningful, interactive content, branded games are a powerful tool for fostering loyalty and building brand stories in spaces where users already spend their time. It’s a step into the future of online behavior and community.

What has been a typical brand-owned video game that you have worked on at makemeplay? A great example of a brand-owned video game we’ve worked on is the Powermatte Lipstick Game we developed for cosmetics brand NARS as part of its Play Your Power campaign. This was NARS’s first foray into gaming, aimed at engaging its global audience, including markets in the United States, Europe, Asia and the Middle East. What made this project particularly exciting was the focus on the growing female gamer community and how the game was designed to appeal to them through a fun, immersive experience.

The game itself is a motorbike runner set in Powermatte-ropolis, a neon-drenched futuristic city with lipstick-shaped skyscrapers, inspired by the brand’s aesthetic for this campaign. Players can choose from one of three characters, each representing a different lipstick shade from the Powermatte range: Dragon Girl, Too Hot To Hold and American Woman. Each character has its own superpower in line with the campaign’s Play Your Power tagline, and the goal is to earn the highest score and climb the Power Players leaderboard.

A standout feature of this game was its seamless data integration. As users raced to the top of the leaderboard, they were prompted to submit their data, with an impressive 87 percent form submission rate. This shows how providing real value through a captivating gaming experience can encourage openness to data sharing. The data collected allowed NARS to better understand its audience and implement more targeted, less intrusive marketing efforts.

NARS was also smart in how it engaged locally with different markets, blending offline and online experiences that felt locally relevant—whether that was in store activations, twitch collaborations or more. It is really interesting to see how a single experience can travel and connect on a local level.

The game was made using WebGL rendering technology with the help of our own 3-D engine called NanoGL, which enables a smooth, real-time 3-D experience directly in the browser. It was easy to play yet thrilling, offering a seamless way for NARS to connect with its audience while promoting its products in a highly engaging and interactive format. Powermatte Lipstick Game is a perfect example of how branded games can drive engagement, increase data sharing and offer immersive experiences that connect consumers with the brand on a deeper level—all while enhancing product visibility and consumer interaction.

How did Gen Z’s interaction with fandom culture spark the idea for you to get brands to authentically engage with the media they enjoy? Gen Z has grown up immersed in digital spaces where fandoms are a way of life. They don’t just consume media passively; they interact with it, remix it and build communities around it. This shift towards active participation was a key insight for us. Brands that want to resonate with Gen Z and Alpha need to speak their language, and that means engaging in the spaces where they already express their passions—whether it’s gaming, social media or virtual worlds.

Fandom culture thrives on authenticity, and we saw an opportunity to help brands become part of that culture in a way that feels genuine. It’s not about slapping a logo on a game; it’s about creating experiences that reflect the things people already love and enhancing that experience through the brand’s unique lens.

What kinds of design and developer tools are you using at makemeplay, and what do you enjoy about them? Are there any new tools you’re looking forward to integrating into your work? At makemeplay, we use a blend of industry-standard tools like Unity for game development as well as more specialized tools for animation and 3-D modeling, such as Blender and Cinema 4D. What I enjoy most about these platforms is the creative freedom they allow. Unity, for example, enables us to prototype and iterate quickly, letting us experiment with gameplay mechanics and visual aesthetics in real time.

As for new tools, I’m excited about the potential of AI in game design. Machine learning algorithms can help us create smarter, more adaptive in-game environments, while procedural generation tools allow for the creation of vast, dynamic worlds that feel unique for every player.

On top of creating branded video games for clients, makemeplay is working on its own intellectual property. What is its premise, and has anything about its design process surprised you? While we can’t reveal too much yet, we’ve already released several games for Yuga Labs and a mobile game called Dicero. Dicero features a unique mix of puzzle-solving and turn-based combat, combining strategic gameplay with an accessible mobile experience. Working on the game has been an exciting learning experience for us!

Right now, we’re diving into a second mobile game building on what we learned from Dicero. This one’s going to be more action-packed, with fast, furious gameplay and a focus on pure fun. We’re pushing the limits of mobile gaming, aiming for a fast-paced, visually engaging and addictive experience. It’s been a rewarding challenge to iterate on our past work while embracing a new genre and style.

What’s surprised me most is how collaborative the process has been. Even with a clear vision, the project has evolved in unexpected ways thanks to input from designers, 3-D artists and developers. It’s been a great reminder of the value in staying flexible and letting fresh ideas shape the project’s direction.

What are your top two or three favorite video games, and what do you like about them? It’s hard to narrow it down, but if I had to choose, I’d say The Legend of Zelda: Breath of the Wild, Journey and The Last of Us.

Breath of the Wild is a masterclass in open-world design, offering a sense of freedom and discovery that’s unmatched. Journey is the opposite in scale but equally powerful, using minimalist design and emotional storytelling to create an unforgettable experience. And The Last of Us—that game just nails emotional depth in a way that few others do. The characters, the narrative, the atmosphere—all of it comes together to create something more than just a game; it feels like art.

Do you have any advice for designers starting out who would want to get into the realm of branded gaming? First, master the fundamentals of game design. It’s essential to understand what makes a game fun, engaging and user-friendly. Don’t just focus on aesthetics—dig deep into gameplay mechanics, user experience and storytelling. Study classic games and newer ones alike to see how design principles evolve and how each era of games has influenced the next.

Second, learn to think from both a creative and a strategic perspective. Branded games need to be fun and meaningful for players, but they also have to align with a brand’s goals and message. Balancing these two priorities is what will set you apart in the industry—your work should resonate with players while still meeting business objectives.

It’s also crucial to understand the lore, culture and behaviors within gaming communities. Knowing how games have influenced each other, and how communities interact with them, enriches the experience you create. Gaming is more than just mechanics: it’s a cultural phenomenon, and understanding that legacy will help you design games that feel authentic and resonate on a deeper level.

Lastly, stay curious and open to new tools and technologies. The industry evolves quickly, and the more you experiment with emerging trends—whether it’s VR, AR, AI or blockchain—the more innovative your work will be. Keeping your finger on the pulse of what’s next will allow you to stay ahead and bring fresh ideas to the table. ca