Paris, 28^th January 2026

Biborg is an independent full-service creative agency dedicated entirely to the gaming industry. Since its founding in 2009, the agency has delivered more than 1,000 successful campaigns for world-leading brands. With offices in London, Paris, Nantes, and Lyon, and a growing network of international partners, Biborg combines the agility of a boutique agency with a global reach. Their team of 30 passionate gamers is committed not only to crafting impactful campaigns through innovation, strategy, and performance—but also to shaping a better gaming environment by promoting diversity, inclusion, and sustainability.

In this exclusive conversation, we sit down with Bruno Luriot, Co-Founder and CEO of Biborg, to explore the agency’s journey from its early Flash-era beginnings to becoming a strategic partner for top-tier gaming brands like Ubisoft, PlayStation, and Netflix. Bruno reflects on the power of creative collaboration, the evolving demands of the gaming sector, and why deep industry knowledge and authenticity are essential for agencies that want to play—and stay—in the game.

It’s a pleasure to meet you. To begin, you were born in France and are now based between Nantes and Paris. How have these cities — and perhaps the French creative culture — influenced your passions?

Hello, and nice to meet you too. I’m delighted to answer your questions! Nantes and Paris are indeed important to me and have influenced my personal and professional development, as well as that of the Biborg agency, which has offices in both cities. It was in Nantes that I discovered my passion for music, video games, sport and creativity in general, but it was in Paris that I had the opportunity to realise and develop my projects. Today, I divide my time between these two cities, and it’s a balance that suits me perfectly.

If someone were to visit Nantes with a focus on culture and creativity, what places or events would you suggest they explore?

Nantes is indeed a great place for anyone who appreciates culture and creativity. There is often a touch of poetry in the city, which is quite evident everywhere if you take the time to pay attention. It is also very nice to have such high artistic quality, but always with a popular dimension that is accessible to everyone. A very good example (but far from the only one) is the children’s playground ‘On va marcher sur la Lune’ (We’re going to walk on the moon) by Detroit Architectes and Bruno Peinado, which invites children to play and dream. In Nantes, children play on pieces of art and trampolines are moon craters. Architecture plays an important role in this atmosphere and dynamic, and I really appreciate La Fabrique with its bus embedded in the building, which hosts associations and artistic projects.

Without going into the cultural guide, Scopitone, a festival dedicated to electronic cultures and digital arts, is a must-see, as are Les Machines de l’île. L’Éléphant is now truly part of the city’s identity. There is also the Motion Motion festival, which offers an introduction to motion design through fun, enriching and accessible activities, open to everyone, whether curious, amateur or professional. We have participated several times since 2018 with the agency as part of side projects. Here is a video of our first participation. I also really like the city’s art museum, partly because it is always far less crowded than in Paris.

What first drew you into the world of gaming and creativity?

When I finished my studies, I was at the peak of my passion for music and planned to pursue a career in the industry. I had completed all my internships in this sector, whether in a music shop, in a studio, then in record labels and finally at Sony BMG. But I didn’t arrive at the right time. The music industry was in crisis and not hiring much. So I changed direction slightly and discovered the world of communications agencies. I started out at an independent agency specialising in the entertainment sector, which has since been sold. As a business development manager, I started out in the music sector but quickly turned my attention to video games, which offered more prospects and creative opportunities for an agency. At the time, it was a little-known sector that wasn’t very interesting to large agencies, but it was very innovative and almost euphoric!

Let’s go back to 2009 — what was your vision when you co-founded Biborg, and how has it evolved over the years?

New to the digital communications agency market, when I founded the agency in 2009, it was the golden age of Flash websites. To carve out a place for ourselves in the market and stand out, we chose to develop strong and distinctive creative expertise by specialising in the creation of digital media campaigns. This was a service that was very popular and in demand at the time, but not highly valued by traditional agencies, resulting in a fairly low level of creative ambition. We therefore focused our efforts on this service, which enabled us to grow quickly and work with some of the biggest and most prestigious brands, such as Ubisoft, PlayStation, Warner, Dior, Volkswagen, BMW and Netflix.

The agency defines itself as “a full-service agency dedicated to the gaming industry.” What makes gaming such a special and challenging field for creative work?

We chose to specialise in gaming primarily because it is a sector we are passionate about and one that offers excellent overall potential. Moreover, this sector requires real expertise that not all agencies have access to. From a creative standpoint, it is a highly innovative sector in terms of technology and usage. Our clients have innovation in their DNA and expect the same from their agency, which drives us to always be curious and to be able to quickly bring projects to fruition using new technologies. Gaming also has a distinctive feature compared to other sectors, which is the level of creativity of our clients and their involvement in the creative and execution process. In video games, we almost never start from a blank page, and without shirking our responsibilities as an agency to find the right idea and execute it well, one of our roles is also to collaborate creatively with our clients, who have a lot of in-house talents.

Biborg has been vocal about promoting diversity, ending toxicity, and reducing its environmental footprint. How do these commitments translate into daily decisions and creative work?

These are very serious issues for the sector because they are problems that affect a significant proportion of players and hinder the development of video games and the improvement of their perception throughout society. We have set up two programmes with time allocated for each volunteer member. Our first step is to do everything we can to improve internally, often through small actions that, when combined, make a difference. In terms of diversity, for example, we have improved our recruitment and career development processes to ensure greater fairness. This has enabled us to achieve gender parity within the agency, whereas the video game industry as a whole is still a long way from this goal. On the environmental front, like many SMEs, we are trying to optimise our Scope 1 and 2 carbon footprint with an annual carbon assessment and commitments to reduce emissions each year. We are also partners of the Women In Games association in France and volunteer on some of their communication initiatives, as was recently the case during Paris Games Week.

We also work with our clients on these issues, where we can have an even greater impact. In terms of diversity, we have implemented best practices for selecting content creators who participate in our activations, who must represent the diversity of the gaming community. This is the case for our Twitch streams on independent games with PlayStation France, for example. We are also very vigilant about the representation of certain female characters in communication materials, with clear and official best practices in place internally. This allows us, even when using official visual sources from our clients in which certain female characters are highly sexualised, to carefully select sequences and frame them appropriately to improve their representation.

Is there a project you’d like to share with us that best represents Biborg’s creative spirit?

The latest trailer we created with Ubisoft for the launch of Anno 117 perfectly illustrates our creative spirit and the way we like to work. To begin with, we place the gaming experience at the heart of our thinking. Our job is to communicate this experience creatively while remaining authentic and true to reality so that we engage players for the right reasons. In addition, we aim to speak to connoisseurs, in this case strategy game players who will appreciate our creative concept, while remaining accessible and entertaining for audiences who are new to the genre. It’s a balance that is always a great challenge to achieve. Finally, we always pay close attention to the quality of the writing, the direction and the overall production value.

Thanks Bruno!

Learn more about Biborg

Follow Bruno on social media: 
Linkedin

Follow Biborg on social media: 
https://www.youtube.com/@BiborgInteractive
https://www.instagram.com/biborg/
https://www.linkedin.com/company/biborg/

CreativeStrategyDigitalCampaignsDiversityInGamingGamificationGamingMarketingInnovationStorytelling