Creative Minds: An Interview with

Jean-Louis Roubira, Creator of Dixit

This exclusive interview with Jean-Louis Roubira explores the creative journey behind one of
the most innovative board games of the 21st century, offering insights into game design,
artistic collaboration, and the universal language of imagery.

Board Game Quarterly: Thank you for joining us today, Jean-Louis. Dixit has become a
modern classic since its release in 2008. Could you take us back to the beginning and tell us
how the concept first emerged?

Jean-Louis Roubira: It's my pleasure. Dixit began in a rather unusual way—not as a

commercial project, but as a therapeutic tool. As a psychiatrist, I was looking for ways to
help children express themselves beyond direct conversation. I found that imagery could
bypass verbal defenses and allow for more authentic communication. The first version was
simply a collection of postcards I'd gathered, nothing formal.

BGQ: That's fascinating. How did it evolve from a therapeutic technique to a commercial
game?

JLR: Very gradually. I started using it with friends and family, and the response was always
enthusiastic. People connected with the interpretive aspect and the social dynamics that
emerged. A friend who worked in publishing saw us playing at a gathering and suggested I
develop it properly. Even then, I had modest expectations—perhaps a small, niche game for
therapists or educators.

BGQ: Yet it went on to win the Spiel des Jahres, perhaps the highest honor in board gaming.
Were you surprised by that recognition?

JLR: Completely shocked! Remember, this was 2010, when the industry was dominated by
complex strategy games or very mainstream family titles. Dixit occupied this unusual middle
ground—simple mechanics but conceptually rich. I think the jury recognized that it offered
something genuinely new: a game about interpretation rather than optimization.

BGQ: One of Dixit's most distinctive features is its artwork. How did your collaboration with
Marie Cardouat come about?

JLR: Finding Marie was perhaps the most fortunate accident in Dixit's development. When
Libellud agreed to publish the game, we began looking at various illustrators. The moment I
saw Marie's portfolio, I knew her style was perfect—dreamlike, layered with meaning, yet
accessible. Her imagery invites multiple interpretations while maintaining a cohesive
aesthetic vision.
We actually modified some of the game mechanics to better showcase her artwork. The
original prototype had smaller cards with less detailed illustrations. Marie's work was so rich
that we enlarged the card format to give her illustrations the space they deserved.

BGQ: The cards seem deliberately ambiguous. Was that a conscious design choice?

JLR: Absolutely. Each image needed to contain multiple potential narratives or meanings.
Too specific, and the gameplay suffers because clues become too obvious. Too abstract,
and players struggle to form connections. Marie understood this balance intuitively. She
created images that whisper rather than shout—they suggest rather than declare.

BGQ: Dixit has been published in over 30 countries. Have you noticed cultural differences in
how people play?

JLR: This has been one of the most rewarding aspects of Dixit's journey. Yes, there are
fascinating cultural patterns. Nordic players often give more abstract, conceptual clues.
Mediterranean players tend toward more emotional, expressive cues. East Asian players
frequently reference cultural myths and symbols.

But what's truly remarkable is how the game transcends these differences. I've watched
people who don't share a common language play Dixit together, communicating through the
universal language of imagery and gestures. That's when I realized we'd created something
that tapped into something deeply human.

BGQ: Several expansions have been released with different artists. How involved are you in
maintaining the game's artistic direction?

JLR: I remain closely involved in the art direction, though we've intentionally brought in
different artists to provide fresh perspectives. Each artist brings their own sensibility while
honoring what makes a good Dixit card—that careful balance of narrative potential,
emotional resonance, and visual ambiguity.

It's a delicate process. We provide guidelines, but we also want each artist to express their
unique vision. Some of my favorite cards from the expansions are ones that surprised
me—illustrations I wouldn't have conceived but that work beautifully within the game.

BGQ: Beyond entertainment, have you seen Dixit return to its therapeutic roots?

JLR: This has been one of the most gratifying outcomes. Dixit is now used by therapists,
educators, language teachers, and even corporate trainers worldwide. I regularly receive
messages from professionals who use it to help children with autism express themselves, to
assist trauma survivors in processing experiences indirectly, or to help language learners
develop fluency.

One particularly moving example was a grief counselor who used Dixit with bereaved
children. The cards provided a safe distance from which children could express complex
feelings they lacked the vocabulary to articulate directly.

BGQ: Dixit has inspired numerous other games, like Mysterium and Obscurio. How do you
feel about this legacy?
JLR: Incredibly honored. Game design, like any creative field, builds upon what came
before. If Dixit has contributed something valuable to the evolution of board games, that's
deeply satisfying. These "spiritual successors" each take the core concept in fascinating
directions.

I particularly appreciate how Mysterium maintained the interpretive aspect while adding a
cooperative dimension. Innovation often happens at these intersection points between
existing ideas.

BGQ: What has surprised you most about Dixit's journey over the years?

JLR: The longevity, certainly. Board games often have short commercial lives, but Dixit has
remained relevant. I think this speaks to something fundamental about human
connection—our desire to peek into each other's minds, to see how differently we perceive
the same image.

But personally, what's most touching are the stories from families who tell me Dixit has
become their tradition—something that bridges generations. Grandparents play with
grandchildren, finding common ground in imagery even when their life experiences differ
dramatically. That's a legacy I never anticipated.

BGQ: Finally, what advice would you give to aspiring game designers?

JLR: Focus on the experience you want to create rather than the mechanics. Mechanics
should serve the experience, not the other way around. Ask yourself what emotion or
interaction you want to foster, then build your design around that.

And don't be afraid of simplicity. Dixit's rules can be explained in under a minute, yet the
gameplay is endlessly varied because it's powered by human creativity and connection.
Sometimes the most profound experiences come from the simplest frameworks.

BGQ: Jean-Louis, thank you for sharing these insights into one of gaming's most beloved
modern classics.

JLR: Thank you for your thoughtful questions. It's been a pleasure.

Jean-Louis Roubira is a French game designer and psychiatrist whose creation Dixit won the
Spiel des Jahres in 2010. He continues to consult on the Dixit line while developing new
projects that explore the intersection of games, art, and human connection.

This interview was conducted in Paris, February 2025, and has been edited for clarity and
length.