It’s been amazing to see the reception for Asgard’s Wrath 2. We started with a perfect IGN 10/10 and went on to win Game of the Year at D.I.C.E. and AIXR, plus nearly every award at the NYX Games!
These are my initial wireframes and mockups for the Skill Tree, inspired by the Incan Quipu. We designed it as a data-driven system, and the final version used skeletal meshes synced with the character animations.
The Wrath 2 map uses a simplified mesh derived from the level geometry, which pans around a sphere mask. This design intentionally mirrors the circular compass on the player’s wrist, while map markers are layered on top for clarity.
I initially envisioned the Wrath 2 map as a scroll, but after prototyping, it evolved into a 3D miniature to create a more immersive feel within the pause menu.
Quests are presented as magical cards framed by the Weaver’s hands, creating a tactile Quest Book experience. We used a similar format for the Posting Board for god-specific side quests. The first video also showcases the Codex, featuring a physically animated book that complements our other menu systems.
Wireframes outlining the UI flow for the Pause Menu, Death Screens, and the Rift, including Weaver Hand animations. We also produced more detailed wireframes showing the full functionality of these screens.
We used these custom Saga titles and symbols as visual markers to signal the start of a new chapter. My goal was to create assets that felt physical and grounded in the world, while utilizing VFX to add a touch of magic.
We designed the inventory to wrap around the player to maximize the Quest 3’s display potential, addressing distance-based rendering constraints and optimizing the UI for VR legibility.
While we explored more elaborate interactions, user research showed that players prefer speed in these menus. We added features like pay to finish, bulk purchasing, and unlock hints to streamline the process. Additionally, using a separate menu space allowed us to bypass the mesh and texture limitations of the main level, ensuring better performance and visual clarity.
The Inventory allows you to manage items and equip your Hero by pointing and grabbing 3D objects to use or move between slots. We constructed an empty celestial setting to emphasize that these actions occur in your godly state while minimizing distractions from the content.
The World Map is an animated solar system where realms orbit a central sun. Players can point at and select a specific planet to transition into its detailed Realm Map.
The Midgard Realm Map provides a detailed view of the planet, highlighting all available travel points. It features a living environment with animated clouds, water, and atmospheric details to bring the realm to life.
The Blacksmith, Merchant, and Mini-Game menus are seamlessly integrated into the Tavern environment, maintaining immersion within the game world.
All work on this project was created in collaboration with the team at Sanzaru Games, including fellow UI Designer Sally Su.
The Quick View can be accessed at any time to display HUD and Quest Status information that typically only appears during updates. We gave these elements a smoky, ethereal aesthetic to reflect that this information originates from your godly form.
The Quest Complete screen appears as a modal over the environment to celebrate finishing a Main or Side Quest. It blends the 3D chiseled text of the menus with the smoky, ethereal background of the HUD elements.
The Combat HUD features a central health display framed by directional threat pointers, along with enemy health bars that track armor chunks and status ailments using fast, fluid animations.
The Belt Items Menu provides quick access to consumables equipped in your Inventory, featuring a visual design that acts as a seamless continuation of the energy beam.
The Follower Quick Select uses a radial menu to provide rapid access to your companions, featuring the same energy-beam visual style used for belt items to ensure a unified interface.
Across all menus, the goal was to create a cohesive interface that shifts between immersive, in-world interactions and a clean celestial aesthetic. I wanted to make the interface feel tangible and magical by incorporating 3D meshes and VFX that reinforce the player’s divine perspective.
We designed a variety of overworld maps using a distinctive illustrated satellite style with real depth. These maps feature unique color schemes for each realm, such as the icy blues of Niflheim and the fiery purples of Helheim, alongside animated clouds and water on a celestial background.
This was a fun game jam I worked on with a team over a couple weeks in Unreal Engine. I came up with the idea and did a lot of the technical setup and visual development.
I grew up in the Midwest with a lifelong interest in video games and art. Today, I’m fortunate enough to do both as an interface designer and artist in the San Francisco Bay Area. With 20 years of experience in the industry, my focus is on creating fun, engaging, and visually rich experiences for players. When I'm not pushing pixels or tinkering with game projects, I spend my time exploring the California coast with my wife and daughter and playing ultimate frisbee.
Experience
Sanzaru Games
(acquired by Meta Feb 2020)
Principal UI Artist
2024 - Present
Lead the UI visual development and immersive interactions for upcoming unannounced titles. I design key screens and build functional prototypes to showcase core features during early development. I also mentor UI team members and establish production workflows to maintain high-quality standards across the project.
Lead UI Artist
2015 - 2024
Directed the UI team for major VR titles including Asgard’s Wrath 1 & 2. I guided projects from concept to final implementation, ensuring a consistent visual style throughout the experience. I utilized Unreal Engine to create polished 3D interfaces that set the standard for VR interactions.
Nexon M
Senior UI Artist
2013 - 2015
Partnered with external studios to provide UI design, art direction, and key art for numerous projects across iOS and Android. Led user interface design, concept art, and illustration for internal projects while managing a team of artists to ensure unified design execution across all platforms.
Gloops
(acquired by Nexon)
Senior UI Artist
2012 - 2013
Responsible for UI art, illustration, and FX for mobile titles using Unity3D and Flash. Developed interactive prototypes to define user experience and gained international experience collaborating with teams in Japan and Vietnam. Shipped the popular mobile RTS game Apoc Wars.
Trilogy Studios
UI Artist
2008 - 2011
Responsible for illustration and UI art for social games and interactive projects for clients including DreamWorks, MTV, and Universal Studios. Collaborated with directors and art teams to deliver Kung Fu Panda World and a top-selling Harold and the Purple Crayon iPad app.
Procter & Gamble
Digital Designer
2007
Collaborated with mechanical engineers to develop concepts and product visualizations for P&G brands like Swiffer and Febreze. Created sketches, 3D models, and animations to demonstrate and validate new product ideas.
Big Spaceship
Junior Designer / Co-op
2005 - 2006
Produced art and animation for immersive film and brand websites, including Batman Begins, War of the Worlds, and Nike Air. Transitioned into a Flash games artist role, contributing to multiple award-winning interactive projects.
Awards
Asgard's Wrath 2
Recognized as VR Game of the Year at The Game Awards, D.I.C.E., the Golden Joystick Awards, and the VR Awards.
Asgard's Wrath
Winner of VR Game of the Year at the TIGA Awards and a finalist for Immersive Reality Game of the Year at the D.I.C.E. Awards.