Miraculous Telegram Game
How we used a Telegram game to bring a digital-first audience back to TV.
50K+ players
participated in the game
~5K
TV QR interactions
9%
TV rating
Role: Product / UX/UI Designer
Platform: Telegram Web App
The project exceeded our expectations: more than 50,000 unique players joined the game, while around 5,000 interacted with QR codes shown during the TV broadcast. Miraculous reached an overall TV rating of 9% during the campaign.
Bringing a new audience to TV
TV-3 acquired the French animated series Miraculous. The show was already popular among children aged 8–12, but there was a mismatch: the channel’s existing audience consisted primarily of middle-aged women.
Our challenge wasn’t simply to promote the new show. We needed to reach a completely new audience — and convince kids who were used to social media and digital entertainment to watch scheduled television.
How might we make watching TV attractive to an audience that prefers social media?
TV-3 acquired the French animated series Miraculous. The show was already popular among children aged 8–12, but there was a mismatch: the channel’s existing audience consisted primarily of middle-aged women.
Our challenge wasn’t simply to promote the new show. We needed to reach a completely new audience — and convince kids who were used to social media and digital entertainment to watch scheduled television.
How might we make watching TV attractive to an audience that prefers social media?
Understanding Miraculous fans
Together with digital marketing team I explored fan communities, forums, and social media to understand how children interacted with the Miraculous universe outside the show.
Three patterns stood out: fans were highly social, enjoyed competition, and valued exclusive content and merchandise. Telegram was also already part of their everyday digital lives.
Together with digital marketing team I explored fan communities, forums, and social media to understand how children interacted with the Miraculous universe outside the show.
Three patterns stood out: fans were highly social, enjoyed competition, and valued exclusive content and merchandise. Telegram was also already part of their everyday digital lives.
Competitive
They enjoy scores, challenges and comparing results
Social
The fandom is built around active communication and sharing
Collectors
Exclusive Miraculous content and merchandise are meaningful rewards
This gave us an opportunity: instead of asking kids to leave their digital habits behind, we could use those habits to lead them toward TV.
Turning promotion into a game
We came up with a simple Telegram game: characters from Miraculous move across the screen, and players have to catch them by tapping as quickly as possible.
Some characters give players points, while others take them away. The higher the score, the higher the player climbs on the leaderboard — with exclusive merchandise waiting for the winners.
We also let players form squads, invite friends, and compete as a team.
We came up with a simple Telegram game: characters from Miraculous move across the screen, and players have to catch them by tapping as quickly as possible.
Some characters give players points, while others take them away. The higher the score, the higher the player climbs on the leaderboard — with exclusive merchandise waiting for the winners.
We also let players form squads, invite friends, and compete as a team.
Catch characters → earn points → climb the leaderboard → win exclusive merch
Keeping the game simple and replayable. Ux/Ui
The core interaction had to be instantly understandable for a young audience: see a character, tap it, get points.
At the same time, the game needed enough variation to encourage players to come back. We introduced three difficulty modes and gave different characters different point values and effects, adding progression and risk–reward to an otherwise simple mechanic.
The core interaction had to be instantly understandable for a young audience: see a character, tap it, get points.
At the same time, the game needed enough variation to encourage players to come back. We introduced three difficulty modes and gave different characters different point values and effects, adding progression and risk–reward to an otherwise simple mechanic.
Choose difficulty → Play → Earn points → Improve score → Check leaderboard → Play again
Connecting Telegram with television
Engagement inside Telegram wasn’t our final goal. The campaign ultimately had to bring players back to TV.
We introduced special missions that rewarded players with significantly more points than regular gameplay. Some encouraged social actions, while the most important one connected the game directly to the television broadcast.
Engagement inside Telegram wasn’t our final goal. The campaign ultimately had to bring players back to TV.
We introduced special missions that rewarded players with significantly more points than regular gameplay. Some encouraged social actions, while the most important one connected the game directly to the television broadcast.
QR codes appeared on TV five times a day. Scanning them gave players an advantage in the game, turning the broadcast itself into part of the experience.
TV was no longer just the content we were promoting. It became part of the game.
Results
The game attracted more than 50,000 unique players.
More importantly, around 5,000 players scanned QR codes shown during the television broadcast — demonstrating that the digital experience successfully encouraged part of the audience to interact with the TV campaign.
During the campaign, Miraculous reached an overall TV rating of 9%.
The project showed us that changing audience behavior doesn’t necessarily mean fighting existing habits. Instead of asking kids to choose between Telegram and television, we connected the two experiences.
The digital product gave them a reason to turn on the TV, while television gave them an advantage in the game.
The game attracted more than 50,000 unique players.
More importantly, around 5,000 players scanned QR codes shown during the television broadcast — demonstrating that the digital experience successfully encouraged part of the audience to interact with the TV campaign.
During the campaign, Miraculous reached an overall TV rating of 9%.
The project showed us that changing audience behavior doesn’t necessarily mean fighting existing habits. Instead of asking kids to choose between Telegram and television, we connected the two experiences.
The digital product gave them a reason to turn on the TV, while television gave them an advantage in the game.
