Known as the “Pope of the Nouveau Roman,” Alain Robbe-Grillet established his work around fantasy. He eventually destroyed all notions of character and narrative and renewed the codes of literature and cinema. However, the conception of a new universe within which the reader and the viewer are actively involved in the creative process does not prevent the use of certain archetypes from popular culture, ancient literature and mythology. Thus, the work of Robbe-Grillet can be seen in some way as a complete work in which Robbe-Grillet plays with the genres to better deconstruct them, and combines them under various art forms. Thus, La Belle Captive is simultaneously a movie and a novel illustrated by Magritte’s paintings. Rêves de jeunes filles and Les Demoiselles d’Hamilton are photo novels within which soft and vaporous images by David Hamilton continually oppose the dark anxiety and text by Alain Robbe-Grillet. In the autobiographical trilogy Romanesque, the author of Les Gommes muddies the waters and eventually fades to give way to the Corinth Tale’s main character, who is both a knight from the Middle Ages and a hero from the Resistance and appears more of a dreamlike character than a fictional one. Legends from Brittany also shape this autofiction in which the author ends up being entirely obliterated. This essay is focusing on the playful aspects of the continuous evolution in Robbe-Grillet’s work.