Hi! I’m Madhupriya Basu, your friendly neighbourhood designer & vibe-coder homie, currently in my second (and final!) year of the MS program in Interactive Media & Games at USC’s School of Cinematic Arts. As you might guess, I love games (kind of comes with the territory), though I’m definitely more of a casual gamer at heart. What excites me most is playing around with different technologies, I’ve worked across VR, AR, spatial display systems, and beyond the usual PC/console/mobile setups.

Outside of games, I’m all about fashion, anime, emotional experiences, singing, acting, hiking, DIY projects, and petting literally every animal I come across—even the coyotes that roam around our campus (they have such an amazing temperament!). Previously, I worked as an XR designer for 2 years, and now I’m looking for new opportunities in game design, UX design, or level design, basically anything that sparks my creativity and gets my brain buzzing.

I really love animals (seriously, love love love them) to the point I recently turned vegetarian — it’s been a tough journey, but so worth it. I hope to inspire the next generation to create a world with stronger animal rights and better protection for them.

What inspired you to explore game design as a potential career path?

I’ve always loved games. When I was younger, I’d play on my dad’s phone or my iPad all the time. I wasn’t into PC or laptop games at first, but once I got my own laptop, I started trying out what my peers were playing. Later on, I had friends with PlayStations and Nintendos, which opened me up to new technologies and different styles of play. 
In undergrad, I studied human-centered technology, and that’s where I first got introduced to Unity Engine which really sparked my interest in making games, not just playing them. I applied it in a gamified product design project aimed at reducing pre-operative anxiety for heart patients, which went on to win the Confederation of Indian Industry (CII) award. Over time, I realized that most of my designs leaned toward gamification: I just don’t like creating boring solutions. That tendency toward gamified experiences really shaped my approach.
After graduation, I joined a virtual reality company called Parallax. During the interview, they presented me with a problem, and I immediately responded with a gamified solution. That approach is actually what got me hired. I remember taking out a whiteboard marker and brainstorming ways to tackle the challenge they gave me. The project was a mixed-reality game for Meta, my first professional gig in the field, and it was a turning point. Looking back, what I thought was “user experience design” was actually game design, the term used in the gaming industry. Slowly, piece by piece, I built my portfolio. By the time I entered USC, I knew I wanted to fully pursue game design. My experience at Parallax deepened my love for immersive media and technology, and I began exploring games more seriously, watching Twitch streams, and playing myself. I realized that virtual reality installations, in particular, align perfectly with my interests. Games have a narrative arc, a flow of intense emotion, and I wanted to tell stories that way, through games.

Was USC and SCA always your goal when applying to game design MFA programs? What drew you specifically to USC Games?
    
It was kind of crazy. So, I started by Googling, “Which is the best game design school in the world?” According to the Princeton Review & ChatGPT, USC came out on top, followed by NYU and CMU. I thought, okay, these are the three schools to target. USC being number one really stuck with me, I figured, why not aim for the best? That seemed like the least I could do. My parents were really supportive of me studying abroad, too. They knew the game industry in India, while growing, wasn’t as developed as it is here. They encouraged me to go somewhere I could really learn and grow, and I agreed. It just made sense.

When it came time to apply, I only applied to three schools: USC, NYU, and CMU. I actually lied to my parents and told them I applied to ten schools because they wanted me to have backup options. But for me, it was simple: if I wasn’t going to USC, I wasn’t going anywhere else. I can be very stubborn that way. USC was my clear first choice. Being in Los Angeles, right near Hollywood, it felt like the perfect place for me. I had offers from other great schools like CMU and NYU, but in the end, I chose USC because it made the most sense for my goals. When I got into USC, I couldn’t believe it. I didn’t even know how to tell the people I worked with. I remember telling my CEO, and he said, “Oh, I applied too but didn’t get in. Do you have backup schools?” I said no, and he was like, “Just don't put all of your eggs in one basket..” I just smiled and thought, we’ll see. USC checked every box I had: location, program, industry relevance. I even had detailed research and documentation to back up why it was the perfect choice.

What’s been the most memorable or impactful class or experience you’ve had at SCA so far?

I wouldn’t say there’s been a single unmemorable class! I could literally name all of the ones that stood out. For example, CTIN 541 with Tracy Fullerton was incredible. To understand games as a subject and explore the concept of fun, we actually played games in physical space. We didn’t just sit at computers, we became part of the game ourselves, jumping around and acting out multiplayer dynamics. It was interactive, hands-on, and so much fun. Then there was CTIN 534 with Peter Brinson. He had us watch a ton of films, and honestly, his list of movies and songs was the best I’ve ever seen. Many were mixed media or experimental in style, and a lot of them were anime, which I love. It was such a unique way to experience storytelling and media.

In my second semester I also took CTIN 583 with Debbie who is a young faculty member from UCLA and a Unity developer. The course was designed for people new to Unity, but we could also experiment with Unity, VR, and AR. While it was challenging and hectic at times, Debbie was incredibly supportive and understanding. One memorable project was a Halloween-themed treasure hunt: she left clues around campus, and we had to create games based on our interpretations of her clues. Each location also had small gifts, like a banana cake from the SCA coffee place; it was a fun, immersive way to apply everything we’d learned. Also during my second semester I took CTIN 532 with David Warhol who is known to teach one of the most intense courses in the MFA Game Design program. David was amazing! He was involved with people who created GDC, the Game Developers Conference. David’s involvement with GDC is incredible, as he often told stories about how GDC started as a small, almost house-party–like gathering and that it eventually grew into a massive global event! GDC is now used to announce major projects, market upcoming games, encourage networking, and more. Hearing about that growth and his perspective on the evolution of the industry was incredibly inspiring.

What would you like to improve on as you continue your studies in game design at SCA?

As I continue my studies in game design at SCA, I want to focus on improving my ability to manage and integrate all aspects of game creation, from design to production. For example, in CTIN 532 with David Warhol, which is a cornerstone course in the program, my team and I created a game that ended up winning an award. I was the only designer, working with two developers and a friend who composed music for the project. That meant I was responsible not just for game design, but also narrative design, UI/UX, level design, lighting, and coordinating production. It was intense and sometimes overwhelming, but it taught me how critical it is for a designer to communicate clearly across disciplines and manage multiple creative elements at once.

I had the opportunity to collaborate with Antonio Mendellin from the Thornton School of Music, who used my vocals to create a unique soundtrack featuring whistling and layered melodies. That process reinforced how interdisciplinary collaboration can elevate a project, but it also showed me areas where I can grow, especially in streamlining production and integrating creative contributions more efficiently. 

Beyond that, I’ve been exploring virtual reality through other courses and extracurricular opportunities, like the Transmedia Challenge by Entertainment Technology Centre (ETC), which is a collaboration between SCA & Sony Pictures and sponsored by Epic Games, and Universal Studios. Only 10–12 students are selected from USC and other schools, and we’re tasked with creating an immersive experience for VR/AR or any other transmedia tech that could involve influencers, actors, or musicians. Being part of this challenge is both exciting and nerve-wracking, and it’s pushing me to think bigger about how games and interactive experiences can engage audiences.

Overall, I want to continue developing my skills in managing interdisciplinary teams, refining production workflows, and integrating design, narrative, and immersive technology seamlessly. SCA provides so many opportunities, courses, collaborations, and challenges, to push myself in these areas, and I’m excited to grow as both a designer and a storyteller.

Do you think the creative process in game design differs from that in film, television, or other traditional entertainment mediums??

Yes, I think there are similarities between games and other media, like film or television, because both start with brainstorming and story development. But games feel more open-ended but in other ways, they’re also more technical. For example, in one project we used Unreal Engine, and both of the developers were completely new to it. I suggested using it because it would strengthen our portfolio and allow us to create the narrative game we envisioned, so I guided them through learning entirely new software. The process involved brainstorming, iterating, and then documenting everything in a Game Design Document (GDD), which became our “bible.” It included dialogues, game flow, mechanics, and player interactions with the environment and the worm character. We even mapped out the emotional arc we wanted the player to experience. In many ways, this mirrors the storytelling constraints in film or television; but in games, those constraints are technical as well as narrative.

Since I’m not a 3D artist, we relied heavily on AI to generate assets. I would then bring them into 3D software to refine, repaint, and reanimate them, because AI-generated assets often need extra work to function properly in a game. Even with imperfections, AI gave us a strong starting point, saving a lot of time and allowing me to add depth and polish. This experience reinforced my philosophy of using AI as a tool, not a crutch. It’s incredible for accelerating production, but a narrative designer, or any designer, still needs to guide the story, refine the assets, and ensure the emotional experience is meaningful. Balancing technical constraints with creative vision is a core part of what makes game design both challenging and exciting.

How do you overcome technical or creative obstacles?

For this particular game, most of the technical challenges were handled by the developers, who would learn from YouTube tutorials or use tools like GPT to troubleshoot. As a designer, my main technical work focused on areas that AI or pre-made solutions couldn’t help with, like level design and camera movement. For example, we spent a lot of time discussing as a team where to place the camera, whether to add cinematic elements, or how to create the right feel for each scene. That kind of problem-solving required creativity, collaboration, and iteration rather than automation.

AI was incredibly helpful in other aspects, especially when I needed scripts to bring a vision to life. Since I know languages like C# and C++, I could tweak or refine those scripts myself, which saved a lot of time and let me focus on the creative side of design. But for tasks like level layout, pacing, and camera work, it was still about human intuition, experimentation, and team discussion. Ultimately, overcoming obstacles in game design is a mix of using technical tools efficiently, knowing when to rely on collaboration, and staying flexible in your creative problem-solving. Even when AI or tutorials can help, some challenges, like shaping player experience or narrative flow, still require hands-on, iterative work because often good play or story comes to life through happy accidents or experiences.

What was your experience like participating in the Collegiate Games Challenge, and how did you react when you learned your team had become finalists and won?

I first found out about the Collegiate Games Challenge through the USC Discord server, and I thought it sounded really interesting, so I decided to submit a project. Honestly, I didn’t expect much; I was completely caught off guard when my team ended up as finalists and won. The game we submitted, Would You Love Me If I Was a Worm?, was a small 15-minute project, but I had put a lot of care into the cinematic elements, especially the trailer. My goal was to convey the emotional and narrative experience. the feeling of being lost in an unknown place, trying to find someone you care about! And the music, created by Antonio Mendellin, played a huge role in achieving that. A side note: Antonio recently arranged music for Pablo Alborán, a renowned Spanish singer with 7.5M Instagram followers. It’s truly an honor to have him as a friend and teammate, and he’s been the creative force behind all the music in my games.

The trailer itself was made in just two days, and I focused on level design, VFX, and narrative flow to make it visually compelling. I submitted it primarily for the cinematic category, as there were some restrictions on what could be submitted. I even shared it on LinkedIn to reach a wider audience. Another project I had worked on, Notes for the Lightlist, was also submitted and won an honorable mention.

When I learned that our game had become a finalist and won, I was thrilled. It was such a validating experience, seeing all the effort, even the rushed parts during summer break, recognized on this platform was incredible. It made me feel that the time I invested in designing the narrative, visuals, and overall experience really paid off.

With AI reshaping the games industry, how has your UX background helped you grow as a games student and professional? 

AI can’t truly think or interpret the emotional depth of a story, but if I feed it detailed information about my concept and what I want to achieve, it can help structure the narrative, clarify goals, and even weigh options. I treat AI almost like a teammate, able to assist with organizing thoughts, while keeping my own creative voice at the center.

From an asset perspective, AI has been a huge time-saver. For instance, the worm character in Would You Love Me If I Was a Worm? was created using an AI tool called Meshy. The initial shape and 3D mesh were generated by AI, which saved me significant time, though I still had to repaint the textures and a friend helped me animate it. That combination of AI efficiency and hands-on design allowed me to maintain the integrity of the game while speeding up production. 

I feel as though my UX training homed in on the craft of thinking about user experience, interaction, and emotional flow. I can focus on the player’s experience, structure complex ideas, and make design decisions that maintain the narrative and emotional impact of the game, even while integrating emerging technologies using AI scripts.

What was it like working on Would You Love Me if I Was a Worm?, and how does cinematic storytelling fit into games and interactive media?

Working on Would You Love Me If I Was a Worm? was both challenging and deeply personal. Early on, we were stuck in brainstorming because the possibilities felt endless. I thrive when I can bounce ideas off someone, and one night, while talking with my partner about long-distance frustrations, I jokingly asked him, “Would you love me if I was a worm?” His thoughtful, heartfelt responses sparked the central concept of the game, a character navigating a strange, unfamiliar world to reunite with a loved one.

From there, my teammates and I developed the mechanics around environmental puzzles. The worm pushes and interacts with cubes, which serve as both gameplay and metaphor- representing struggle and the effort to reach someone meaningful. The narrative unfolds gradually: the character recovers memories through photographs, learns about her surroundings, and faces puzzles that mirror her emotional journey. Camera perspectives and environmental interactions were designed to reinforce the story, making the player feel the tension and discovery firsthand.

Cinematic storytelling was central to the game because it allowed us to convey emotion and narrative through visuals, sound, and interaction, rather than relying solely on text. The trailer and in-game moments were carefully crafted to evoke immersion, making the player feel connected to the protagonist’s experience. It showed me how games can blend gameplay and cinematic techniques to create deeply emotional, interactive stories.

What excites you most about a career in game design and interactive media?

Honestly, I’m excited about everything in game design, but at my core, I’m an immersive designer. I love creating experiences that engage all the senses, making players feel and interact in ways that go beyond traditional storytelling. Right now, I’m focused on upcoming MFA thesis projects & AGP’s that I am a part of and on my capstone which I am developing using virtual reality technology and incorporating AI systems. The main focus of my game is creating an experience that talks about feminism and animal rights in a beautifully structured & narrative interactive manner that helps the player question the current standards of morals/values in the world.

What excites me most about this career is the uncertainty and possibility; it’s not always clear where the path will lead, but I know I’m having an incredible amount of fun, and it feels like the best time of my life. Being able to combine creativity, technology, and interactivity to make people feel something is what keeps me passionate about game design and interactive media.

What tips do you have for anyone looking to break into the games industry?

You don’t need to be a hardcore gamer to become a game designer. What matters is an interest in creating experiences and understanding what makes a game, or any interactive experience, fun. My background is in UX, and I’ve found that game design allows an incredible amount of creative freedom that other industries rarely offer.

Game design isn’t just for video games. It’s also for people who want to create immersive technology, interactive films, gamified applications, installations, exhibitions, or even experiences in theme parks. If you love telling stories, designing interactions, and applying technical skills creatively, game design is a perfect path. The opportunities are vast, within the video game industry and beyond, and the skills are widely applicable, so anyone passionate about experiences should seriously consider it.

Want to get in contact with me? Here's how:

Linkedin page: https://www.linkedin.com/in/madhupriyabasu/
Itch.io page: https://madoosday.itch.io/
Personal Email ID: maddie.basu@gmail.com
USC Email ID: Madhupri@usc.edu

Story by Emily Tutnick