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How Gameloft digitised their creative production approach by adding Creative Automation to their tech stack

Briefs Workflows Approvals
Dynamic templates Creative Automation File output Publishing content Optimization


media created in their pilot phase


dynamic templates made


games which need product advertising across multiple markets and channels 

The problem

The world of gaming is brimming with imagination. There is a certain power in the escapism it grants.  

But the creative team at Gameloft, a world leading games publisher with a special focus on the mobile games market, were finding they never had time to expend their creative energies in the right places. Instead of dreaming up exciting product advertising for dream-like wonderlands and quirky characters, they were engaged most often in the process of versioning and adapting existing creative assets for their different markets.  
A process that can be easily automated.  
Changing the copy, resizing, or inserting different voice overs… These tasks are mundane and repetitive, which is the opposite of what gaming is about: imagination. So how did they address this crisis in creativity?

The solution

Gameloft may have been the first to bring games to mobiles back in 2000. They publish games like Dungeon Hunter, Star Wars Castaway and Asphalt Nitro. But today, serving multi-platform gaming experiences worldwide means creative production processes cannot remain in the year 2000.

Gameloft connected under one platform, that of Storyteq, so that the independent Gameloft entities globally could more efficiently align. They could also look at each other’s template work in different locations for ideating purposes. 

Now, while there are Gameloft branches across the world operating separately, the Storyteq platform facilitates brand-compliant iterations, in turn facilitating scalability.

3D Artist/Motion Designer, Mick Seegobin, responsible for much of the Disney Magic Kingdom designs, self-taught his use of the Storyteq Template Builder. He finds it convenient for logo placement, swapping out the end card and for making the videos in the ad dynamic.

As a digital creative asset is flagged as best-performing, we get notified from the User Acquisition team. Then we start creating iterations based on an iteration plan. Storyteq is a solution in our workflow now that helps us iterate simple creative assets which we know are worth iterating.

John Cappelletti, Creative Agency Lead, Gameloft

Are you struggling with efficiencies in your creative production workflows?

Could our platform help eliminate stresses associated with versioning, reviewing, and approving your creative assets? And speed up your time-to-market?