In August, Mattel announced it was forming Mattel Game Studios, a new global development organisation with a focus on making games based on its own IP.
The venture sits under Mattel Digital Studios, and its creation follows the February announcement that Mattel had acquired 100% of Mattel163, a joint venture that was established by Mattel and Chinese games firm NetEase back in 2018.
Speaking to GamesIndustry.biz, Marcus Liassides, SVP and global head of Mattel Digital Studios, says the firm’s new Games Studios arm “reflects the evolution” its digital games business has undergone.
“We’ve had success through licensing, mobile publishing, and creator platforms, and bringing those capabilities together under one studio gives us a clearer identity and a more integrated approach,” he says. “Whether it’s an existing game like Phase 10, the recently announced self-published titles like Uno Wild and an upcoming Hot Wheels experience, or partnerships on licensed games like Hot Wheels Infinite Rush and Masters of the Universe: Dragon Pearl of Destruction, we’re building a broad portfolio that reflects how people engage with games today.
“Ultimately, our goal is simple: to extend physical play to the virtual world by creating digital experiences and games based on Mattel IP that drive sustained engagement for fans of all ages. Digital gaming is now one of the primary ways people discover and engage with entertainment, and our brands deserve a dedicated organisation focused on that opportunity.”
In its announcement press release, Mattel said that its newly formed games arm consisted of “nearly 300 artists, designers, engineers, live operations specialists and producers” based across its offices in Los Angeles and Hangzhou. There’s currently a split between games the company makes itself and those it licenses out to external partners (as well as releases such as Skeletor: Until Next Time, which was made in collaboration with award-winning development out
Liassides says that the company views its self-developed games as “a strategic growth area,” but said that it isn’t about “hitting a specific percentage”.
“We’ll continue investing in internal development because it gives us greater creative control, allows us to build long-term expertise, and lets us own more of the player relationship,” he explains. “At the same time, some of the best games in the world are created through partnerships, so licensing remains an important part of our strategy. The future isn’t either/or – it’s a balanced portfolio of internally developed games, external partnerships, and experiences across emerging platforms.”
Picking a partner
As for what kind of partner Mattel is looking for, the entertainment giant has a few essential criteria. Put simply, they need to be “exceptional at what they do” as well as have a “genuine vision” that fits together a particular brand with a particular experience.
“We spend a lot of time understanding a studio’s creative philosophy, technical capabilities, live-service experience where appropriate, and track record of delivering quality,” Liassides says. “Just as importantly, we want partners who understand what makes our brands special and can expand them in authentic ways rather than simply applying a logo to an existing concept.”
In addition, Mattel is “very open” to receiving pitches from developers and is willing to talk to developers of all sizes, “from established AAA studios to emerging independent teams”.
“Great ideas can come from anywhere,” Liassides says. “What we’re really looking for is compelling game concepts and a clear understanding of why a particular Mattel brand makes that experience better. The strongest pitches start with fan value rather than simply wanting access to an IP.”
In recent years, Mattel’s interactions with the world of video games have come in two flavours; one is entire games, such as 2021’s Hot Wheels Unleashed – developed by Italian racing specialist Milestone – but the company has also licensed out content to feature in other games, such as Hot Wheels cars appearing in Forza Horizon 5. Liassides says that both of these types of video game content are “valuable”.
“Full games allow us to build deep, lasting experiences around our brands,” he says. “At the same time, partnerships that bring Mattel brands into existing games can introduce us to entirely new audiences. Rather than viewing those as competing priorities, we see them as complementary. Sometimes the right answer is a standalone title. Other times it’s meeting players where they’re already spending time.”
Roblox
As well as releasing games on mobile, console and PC, Mattel – like many broader entertainment companies – has been trying to reach younger gamers in places such as Roblox. The firm released He-Man and the Masters of the Universe on the platform in 2022 and has since ported 2025’s Monster High and Uno: Bridge Clash, which launched earlier this year.
“It’s reinforced something we’ve believed for a while: players want to engage with brands, not just consume them,” Liassides says, discussing Mattel’s experience bringing games to Roblox.
“Success on Roblox comes from designing specifically for the platform”
“UGC-driven platforms such as Roblox and Fortnite give fans an opportunity to participate, create, and socialise around our IP in ways that traditional media can’t always offer. Across experiences featuring brands like Barbie, Monster High, and UNO, we’ve seen how creator platforms allow fans to express themselves, build communities, and engage with our brands in entirely new ways. Perhaps the biggest lesson is that success on Roblox comes from designing specifically for the platform. Players expect experiences that feel native to Roblox, not traditional games simply transplanted there. Every platform has its own audience and culture, and respecting that is critical to success.”
Liassides continues, saying that in order for companies to find success on Roblox, they need to “start with the community”.
“Success in Roblox comes from understanding how people play there,” he explains. “The best experiences embrace creativity, social interaction, persistence, and regular updates. You also must be willing to listen to players. Roblox is a living platform, and successful experiences evolve alongside their communities.”
The long haul
Mattel Game Studios’ roots are split across two different arms of the company; the first is Mattel Digital Studios, while the latter is Mattel163, the aforementioned joint venture it had operated with NetEase since 2018. Liassides says that this helped the company “establish a strong foundation” in the world of mobile games, specifically when it comes to development and live-ops.
“We learned a tremendous amount about building games that can engage players over many years, operating at global scale, and continuously improving experiences through player feedback,” he says. “Those learnings continue to influence how we think about game development today, and have helped inform the next generation of self-published titles we’re building as Mattel Game Studios.”
MOTU Skeletor™: Until Next Time – Launch Trailer
Throughout the games industry’s existence, major entertainment brands have tried to make it in video games, but ultimately choose to pull out. Mattel has done this more than once: it was behind the Intellivision console in the early 1980s, but sold the Intellivision business in 1984 after the US games crash. Then in 1996, the company founded Mattel Media, which ultimately became Mattel Interactive before being sold to Gore Technology Group in 2000. A year later, it was shut down. It’s a tale as old as time, but Mattel, naturally, this time insists it is in it for the long haul.
“We view games as a core part of how modern audiences experience entertainment, not as a marketing initiative or a short-term experiment,” Liassides says. “Our brands already exist across toys, television, film, publishing, consumer products, and live experiences. Gaming is another pillar of that ecosystem. Whether that’s new self-published games like Uno Wild, premium partnerships like Hot Wheels Infinite Rush or Barbie Rewind, or experiences on platforms like Roblox and Fortnite, we’re building capabilities across the full spectrum of digital gaming. That means we’re building capabilities, investing in talent, and thinking in decades rather than individual product cycles.”
He adds: “One of the biggest lessons is that great brands alone don’t make great games. Players expect high-quality gameplay first. The IP should elevate the experience, not carry it. We’ve also learned the importance of choosing the right development model for each opportunity, being patient, investing in long-term communities, and giving creative teams room to build experiences that feel authentic to both the players and the brand.”
Liassides and Mattel have big aims for its new Game Studios branch, saying that its ambition over the next five years is to establish the arm as “one of the world’s leading entertainment-based game developers and publishers”.
“That means growing our portfolio of original, internally developed games, expanding strategic partnerships with best-in-class external studios, building meaningful long-term player communities, and bringing Mattel brands to audiences across gaming and creator platforms,” Liassides says. “Most importantly, we’d like people to think of Mattel not only as a company with iconic brands, but also as a company that consistently creates outstanding digital games. Whether those games are developed internally or with world-class partners, success will ultimately be measured by the quality of the experiences we create and the communities that form around them.”
