Search Results

Problem The NHS App is a valuable resource to access health care services in the UK. However, the current design is full of usability mistakes, slow navigation, and visual hierarchy inconsistency, especially for less digitally savvy users or users with a disability. These mistakes lead to frustration, decreased trust, and inefficiency in completing simple tasks like booking an appointment or viewing test results. Solution I re-designed the NHS App to an accessible-by-design, user-led ethos. The new app streamlines the most critical user experiences, enhances navigation by better hierarchy, adds natural interactions, and refreshes visual design in alignment with NHS branding. The result is a less cluttered, kinder experience that enables users to take control of their healthcare with confidence across age and ability. Overview The NHS Mobile App redesign is a personal project aiming to redesign the formal NHS patient-facing app. The project hinges on human-centred design and accessibility best practice, with a focus on streamlining appointment booking, messaging clinicians, access to patient records, and searching for urgent care. By the integration of navigation, visual language, and brand consistency, the project enhances overall user experience for multiple patient requirements. Conceptual Foundation Since day one, three guiding principles have shaped the redesign: Task Prioritisation: Simplify core journeys such as appointments, test results, care messages. So patients get outcomes in fewer than three taps. Brand Integrity: Leverage the NHS design system palette and font, and enhance clarity and hierarchy. Inclusivity & Accessibility: Prioritise WCAG 2.1 AA conformance, addressing colour contrast, touch targets, and readable typography on each screen. An in-depth analysis of the existing app revealed pain points: unfound menu items, dodgy iconography, and poor feedback for critical actions. I built a benchmark board out of top-rated health apps (MyChart, Babylon Health) and drew from patterns best suited for public sector services. Research & Workflow ​I kicked off the project by analysising the 30 user reviews located on the Google Play Store to uncover their biggest goals and pain points, which inspired three core personas “Busy Parent,” “Chronic Care Patient,” and “Digital Novice” to laser-focus my features. From there, I sketched low-fidelity flows in Photoshop, flattened deep menu trees in Figma, and distilled the app down to four primary tabs, Home, Your Practitioner, Medical Passport and Settings refining each iteration with rapid peer feedback. Finally, I married these insights to the NHS Service Manual, customising button states, input fields, card layouts, and our calendar picker to ensure rock-solid visual and interaction consistency. Key Insights & Patterns Key Insights User Review (Google PlayStore) Patterns Design Implication Functionality Gaps "Messages say 26 unread forever... COVID passport inaccessible." Messaging counter stuck; prescriptions split across disparate screens. Repair broken endpoints, consolidate related tasks, and add graceful error recovery. Performance & Stability "Spinning wheel that never stops." The app freezes during ID upload or record fetch, and forced updates never complete. Prioritise on-device vaildation, add offline states, and expand QA coverage around network edge cases. Usability / UI "Looks like a committee designed it like a bad web wrapper." Navigation is unintuitive; key flows (e.g., appointments) are hidden behind secondary apps. Re-architect th e information hierarchy and adopt native mobile patterns. Login & Authentication (most critical) "User-hostile login - Junk app... enter email, password and solve a captcha every time." Multi-step ID checks (including photo, video, and facial recognition) often fail or freeze. Frequent forced log-outs; passwords forgotten by the system. Radically simplify authentication and support modern biometric pass-through (Face ID / Android BiometricPrompt). *Estimated from 30 reviews retrieved from the Google Play store. Competitor Research Apple Health Apple Health excels at unifying Apple Watch data, third-party data, and manual entry into a handsome, centralised dashboard. Dynamic graphs and familiar iOS conventions make advanced health statistics instantly actionable, and bullet-proof privacy controls keep users firmly in charge of their data. It stops at transactional tasks like scheduling appointments or refilling prescriptions. For the NHS app redesign, let's take its clean design and native feel, then build on top active service flows and open, user-first privacy controls. MyChart MyChart is a Swiss Army knife of patient portals: test results, appointment booking, secure messaging, prescription refill, and complete record access all in one place. Deep integrations with healthcare systems give users actual ownership over their data, but the sheer breadth can be overwhelming and vary wildly by provider. The NHS redesign should take MyChart's back-end integration, flatten the hierarchy, and simplify navigation for a cleaner, more consistent experience. Babylon Health Babylon dazzles with AI-powered symptom checking and on-demand video/text consultations, all wrapped in a friendly, modern UI. It makes care instantaneous, though AI errors erode trust and never match the same level of human empathy. In the NHS app, agile AI helpers might smooth out knotty workflows, provided we maintain crystal-clear signposting and readily available human support. Ada Health Ada's symptom-checking chatbot walks users through conversational prompts and personalised next-step guidance. It is medically solid and streamlined, excelling as a triage instrument but not providing more extensive patient management functionality. We can adopt Ada's chat-first approach to onboarding, registration, or in-app support, then transfer the user to human personnel when the conversation calls for a human touch. Patient Access Patient Access specialises in GP essentials, appointment booking, repeat prescriptions, and record viewing through a stunningly minimalist interface that garners rave reviews. Its laser-like concentration drives reliability but excludes national NHS services like organ donation and national public health initiatives. The NHS app should match Patient Access's ease and speed of use for everyday GP services, yet establish a separate section for broader, national services. Visual Design & Components Colour & Typography: Retained NHS Blue for primary actions & highlights; employed Inter for body text and headings, where legibility was maximised. Iconography & Imagery: Utilised icons from Flaticon for menu navigation, notifications, voice controls and confirmations to share the same visual identity. Employed patient-centric imagery on onboarding screens to establish trust. Component Library: Constructed reusable cards, form controls, and modals in Figma. Every component has accessibility and responsive behaviours for mobile devices. Prototyping & Interaction High-Fidelity Prototype: Designed interactive flows in Figma, emphasising tap states, calendar selection, and notification messages. Transitions (slide-up panels, fade-ins) reflect state changes without overwhelming the user. Usability Testing: Completed two rounds of moderated testing with six participants. Most significant findings: Calendar picker needed "Today" quick-select. Confirmation message for successful appointment booking would boost user confidence. Profile section labels required more assertive affordance (e.g., "Edit Details" vs. "Icon"). Reflection & Next Steps Strengths Implemented a natural IA reduced core task steps by 40%. Integrated NHS brand guidelines with modern mobile trends. Built a robust, reusable component library for the future. Room for Improvement Animation Tuning: Include micro-interactions (button ripple, input field shake) for better feedback. Extended Testing: Engage more visually impaired users to stress-test contrast and screen-reader flows. Cross-Platform Consistency: Deploy designs for Android Material Theming and iOS Human Interface Guidelines. Final Thoughts This re-design of the NHS Mobile App has been a valuable learning experience for developing public-sector UX, inclusive interfaces, and large-scale component systems. With user-driven insight and brand commitment combined, I've demonstrated how care and empathy could re-form a life-saving health tool. LINK TO PROJECT: https://www.figma.com/proto/hZxf3VuyEONvtfJnoRqzyK/-Redesign--NHS-App?t=Ux1Uul8pvgB73um5-1

RATIONALE Created to bring the underused Durge species into Star Wars: Outlaws, the speeder blends real-world motorcycle design with Star Wars’ gritty aesthetic, aiming for a modular, game-ready hero asset with strong narrative presence. RESULT The finished model delivers a believable, customisable speeder with clean topology, detailed textures, and current-gen readiness, while leaving room for future optimisation and material refinement. Overview  The Outlaw Speeder was intended to be a realistic, game-ready asset that could seamlessly integrate into Star Wars: Outlaws. The goal was to create a vehicle that felt like a tangible part of the galaxy, gritty, dangerous, and dripping with personality,  while remaining accessible to human characters such as Kay Vess.  The speeder takes inspiration from Durge's fiction, an under-exploited and menacing character in Star Wars. This asset imagines the speeder as a reward for assisting the right criminal cartel. The appearance marries post-apocalyptic biker style (Days Gone) and the industrial look of Star Wars, aiming to achieve the feel of a beaten, good road-running machine that is indicative of its owner's history and choices. Modelling  The proportions were intentionally based on a modified Harley-Davidson frame, ensuring plausibility for both Gen’Dai and human riders.   The mesh is clean, with an overall count of 170,000 tris. Of these, ~57,000 tris come from the pipes, which could be optimised further. While Unreal Engine 5’s handling of high poly counts mitigates performance issues, efficiency remains a priority for future revisions. The geometry is suited for current-gen game-ready presentation, with room for further LOD optimisation. The model was also built with modularity in mind; components such as the skull, engine, and jet unit could be swapped for customisation or upgrades. Final Thoughts The Durge Outlaw Speeder was a passion project born from the desire to explore underutilised corners of Star Wars lore and imagine how they could thrive in a modern, player-driven game. By grounding the design in both real-world motorcycle engineering and Star Wars’ mechanical DNA, this asset aims to feel like a natural addition to the galaxy.

RATIONALE The DG-31 was conceived as a Star Wars-inspired heavy blaster pistol with a revolver-style silhouette, evoking the gunslinger archetype seen in characters like Cad Bane . The design merged elements from three key references: ​ DG-29 – Influenced the side-loading mechanism for tactical, ambidextrous reloading and overall blaster structure. Carth’s Blaster – Inspired the vented barrel for heat dissipation and rapid fire. Browning .22 Silhouette Pistol – Informed the materials and proportions (dark metals and polished wood). RESULT The final 3D model was developed using Fusion 360, Maya, and Substance Painter. The piece features: ​ A sleek revolver profile with sci-fi blaster mechanics A mix of worn metal and polished wood for a grounded, Star Wars-authentic look Improved render quality, lighting setup, and texture work compared to previous projects Overview  The DG-31 Heavy Blaster Pistol is a conceptual 3D weapon design inspired by the Star Wars universe and developed as part of a personal project to expand my hard-surface modeling portfolio. Deeply rooted in the visual and narrative language of Star Wars, this blaster was conceived with strong character associations, production-level realism, and functional storytelling in mind. The project served as a deep dive into weapon design pipelines, materials rendering, and stylistic worldbuilding aligned with professional expectations in both the gaming and entertainment industries. Overview  From its inception, the DG-31 was designed as a revolver-style heavy blaster a handgun fit for an iconic bounty hunter of the Outer Rim. Cad Bane, his gunslinger style and measured cool, were a significant inspiration. Aside from the fact that the revolver silhouette calls up that classic gunslinger cool, it also works within the Star Wars universe's gritty, grimy, industrial future. Rather than starting with a wide range of silhouettes, I built a robust reference board using Pinterest, then refined my selections to three core weapons that embodied characteristics I wanted to explore: DG-29 Heavy Blaster Pistol: The side-loading chamber became a defining mechanical detail. This informed a more tactical reload experience, one suited for mercenaries and bounty hunters needing quick, versatile functionality. The naming convention also evolved from this reference, while the DG-29 feels like a prototype, the DG-31 represents a refined, second-generation iteration. ​Carth’s Blaster: The vented barrel offered an in-universe justification for rapid energy discharge and heat dissipation, perfect for a high-powered sidearm. I deliberately chose not to use the optical sight element from the original, as it risked overlapping too closely with Sergey Kolesnik’s design language. Browning Semi-Automatic .22 Silhouette Pistol: This influenced both the proportions and material palette, particularly the combination of sleek, brushed metal and polished dark wood grips. The tactile contrast of these materials helped ground the weapon in Star Wars’ signature “used future” aesthetic. Modelling & Workflow I began with a rough Photoshop concept sketch and dived directly into 3D blocking in Fusion 360, my initial experience with CAD-style workflows for art. Once the blockout was complete, I exported the model into Maya for optimisation and topology cleanup. The decision to incorporate CAD tools reflects a growing interest in hybrid workflows. I’ve recently acquired Plasticity, a new CAD-based tool focused on artistic modeling, and plan to utilise the program in future hard-surface work. Rendering & Materials The DG-31 was textured in Substance Painter with a focus on realism blended with a stylised Star Wars aesthetic. Materials were then tested in Battlefield's engine for contextual realism. Some of the main points learned in the material phase are: Metal & Wood: The dark metal performs well under dynamic lighting, but the wood grain roughness was too severe in some areas. This will be tuned in future models for greater material realism. Wear & Tear: While I employed base wear masks, I now believe that more nuanced, hand-painted weathering could have elevated the realism and narrative clarity, especially for a bounty hunter's sidearm. Lighting: The scene used a three-light setup, with temperature contrast (cool/warm) to highlight different material responses. While the highlights helped showcase surface fidelity, the warm key light’s intensity may have been excessive, and future projects would benefit from an HDRI-integrated setup to support global illumination. Animation & Presentation Though the weapon is not yet rigged for animation, I am learning animation workflows in Blender to allow for future cinematic presentations and gameplay-ready assets. Dynamic reloads, idle poses, and inspection animations would really bring portfolio visibility and viewer engagement to the next level. The final renders showed significant improvement over previous projects, though minor shadow distortions were present in the video render, likely due to insufficient anti-aliasing or incorrect shadow bias settings. In future iterations, I intend to place weapons within static or animated environments to better convey narrative and use-case context. Storytelling through setting remains a goal in both presentation and design philosophy. Reflection & Next Steps This project is an important step forward in the maturity of my design process from the conceptual level to final draft. The DG-31 is more than a 3D model; it's a narrative vehicle, derived from an iconic franchise and crafted with professional maturity. Area for improvement: Greater material fidelity, especially with custom wear and conservative texturing. CAD workflow design to further improve model cleanliness and accuracy. Animation integration to better synchronise portfolio pieces. More environmental and lighting intention to further narrative. ​Final Thoughts I consider the DG-31 Heavy Blaster Pistol a success at the personal and professional levels. It is a product of my passion for the Star Wars universe, my commitment to design craft, and my ongoing pursuit of industry-level execution. There is something very satisfying about making things that feel at home in a galaxy far, far away. Star Wars has shaped my creative outlook for as long as I can remember, and working within its visual language fuels my passion for hard-surface design. I look forward to continuing this journey with more weapons, droids, and vehicles inspired by its world. Thank you for reviewing this project. May the Force be with you.

RATIONALE This was a collaborative venture whereby Tony Tseng granted permission to bring his explosive knife concept to fruition. This serves as a realistic rendition of their stylised concept, focusing on the makeshift aesthetic of the knife whilst considering the functionality. RESULT I accomplished my aim to make an optimised, realistic and realistically functional explosive knife. The model is game-ready with detailed textures that were rendered in Unreal Engine 5. Overview  The explosive knife was originally conceptualised by Tony Tseng. I seeked oppurtunities to collaborate with skillful artists to increase my ability to fulfil strict briefs. I believe I was effective in replicating Tony's original concept although taking a realstic approach for the knifes design. This collaborative project contributed to my hard-surface portfolio. Reflection The project successfully captures the "makeshift aesthetic" of the knife, which is a key element of its charm. The attention to detail in the materials, such as the rusty blade and the improvised handle, enhances its realistic functionality. The "OK Boomer" inscription on the blade adds a humorous and contemporary touch, making the prop more engaging. Using of Maya for modeling, Substance Painter for texturing, and Unreal Engine 5 for rendering demonstrates a strong grasp of industry-standard tools and workflows. The focus on creating an "optimised, realistic and realistically functional" model that is "game-ready" highlighted my understanding of the technical requirements for 3D assets in interactive media. Collaboration with Tony Tseng not only showcases the ability to work within specific briefs but also reflects a commitment to artistic growth and a willingness to engage with other creatives. The project is a valuable addition to my hard-surface portfolio, demonstrating proficiency in weapon design and asset creation. ​Final Thoughts The explosive knife project is a successful endeavor that showcases both technical skill and artistic vision. It effectively balances realism with a touch of character, making it a strong portfolio piece that reflects Tony Tseng original design. I hope to continue collaborating with other skillful creatives.

Overview of the Redesign Process In just five days, I conceptualised and designed a complete redesign of the Steam desktop client. Wearing both the UX designer and researcher hats, I focused on improving its look, feel, and navigation. Armed with Figma, I transformed Steam's chaotic interface into a clean, intuitive design. This new interface appeals to hardcore gamers while remaining fresh and engaging for newcomers. Although this was a conceptual exercise and not affiliated with Valve, it highlights the potential of focused research and rapid prototyping to rejuvenate a classic application. Conceptual Foundation of the Redesign I anchored the redesign in three core principles: Modern Visual Language: I drew inspiration from contemporary UI trends, incorporating clean typography, simplified iconography, and balanced negative space. This approach replaces Steam’s outdated panels and menus. User-First Navigation: I prioritised the most-used features—library, store, community, and settings—by surfacing them through a streamlined, consistent sidebar. Personalised Discovery: I leveraged modular dashboard cards that adapt to user behaviour. This feature offers tailored game recommendations and quick-access shortcuts. To ground these principles, I assembled a reference matrix that included Epic Games Store, GOG Galaxy, and Xbox Game Pass. This helped me distil best practices in layout, filtering, and social integration. Research & Workflow: Understanding User Needs I began by conducting a comprehensive heuristic evaluation of the existing client. I noted system feedback, consistency, and areas where error prevention could be improved. Following this, I conducted in-depth interviews with five diverse Steam users. These interviews revealed frustrations related to daily gameplay discovery, cluttered homepages, hidden community hubs, and complex settings. A benchmark evaluation of competing solutions sharpened my understanding of industry standards. This allowed me to focus on three high-impact areas: home dashboard, library browsing, and community feed. Armed with this research, I created low-fidelity wireframes in Photoshop. I then guerrilla tested these wireframes in Figma, iterating flows into clean, interactive prototypes. Competitor Research: Learning from Others Epic Games Store Epic's store greets you with big, full-bleed headers promoting weekly free games and temporary exclusives. This establishes a sense of immediacy that encourages return visits. Its tidy sidebar and minimalist launcher yield lightning-fast load times. However, library management remains basic, and social features are an afterthought. By borrowing Epic's "Free This Week" carousel and condensing submenus into sweeping, icon-based categories, Steam can trigger repeat engagement and improve discovery without sacrificing depth. GOG Galaxy GOG Galaxy honours user autonomy with a DRM-free ethos. It serves as a cross-library aggregator, pulling games from all launchers into a stunningly filterable interface. Its powerful tags, installed-status toggles, and customisable shelves enrich gamers' experiences. However, its multi-account setup and optional skins may confuse newcomers. Steam could learn from GOG's filter sidebar, which is always available and immediately accessible. This allows players to view only installed, favourite, or non-Steam games while maintaining a unified core appearance. Microsoft Store | Xbox Microsoft's app brings PC and console together under one roof. Game Pass is front and centre, with automatic syncing of saves, achievements, and party invites between consoles. However, its hybrid media library and occasionally slow performance dilute the experience. Merging a Steam "Pass" pane that focuses on subscription benefits, with cloud-sync icons on library thumbnails and a clean social overlay for quick-join games, would blend Xbox's cross-platform magic with Steam's performance power. Ubisoft Connect | Beta Ubisoft Connect draws players into live events, timed challenges, and a single rewards currency across all Ubisoft titles. This promotes habitual checking in. However, its menus, stores, news, rewards, and stats may resemble a maze. The preponderance of microtransactions can dominate gameplay at times. Steam may capitalise on Ubisoft's event-based engagement by creating a "Live Events" hub and an XP-nodding badge system for seasonal community goals, all presented in a flatter, more streamlined navigation. EA App EA's redesigned launcher simplifies playflows with big "Play" buttons and a news feed touting early access and Insider drops. EA Play subscription perks take the form of trial-hour icons for owned games. However, the feed tends to be full of sales, and the grid-predominant library begs for richer sorting features. By enhancing its "News & Events" sidebar with friends' achievements and upcoming DLC, and by showing trial-access badges on Steam cards, Steam can achieve the perfect balance between personal news and publisher content. Visual Design & Components: Crafting an Engaging Interface Colour & Typography: I retained Steam’s dark-blue palette but introduced subtle gradients. Increased contrast enhances legibility, and I standardised the font hierarchy for clarity. Iconography & Components: I developed a minimal icon set for primary actions such as play, download, and chat. Additionally, I built reusable Figma components to ensure consistency throughout the interface. Navigation Structure: I replaced the multi-level top navigation with a persistent, collapsible sidebar. This sidebar groups Store, Library, Community, and Settings, providing clear visual affordances. Prototyping & Interaction: Testing with Users Two moderated tests with eight participants generated high-quality feedback. In the first round, users loved the sidebar's minimalist look but requested more explicit labels between the Store and Community tabs. In the second round, with high-fidelity prototypes, the new dashboard received strong consensus on relevance and navigability. Testers suggested broadening the search input field and adding subtle hover states to library filters. This iterative process demonstrated the power of rapid feedback loops: small changes yielded significant improvements in clarity and user satisfaction. Reflection & Next Steps: Looking Ahead This sprint project highlighted the importance of maintaining a tightly defined scope and conducting regular checks. In the future, I plan to test more thoroughly across a wider sample of older players and those with accessibility needs. This will ensure the redesign meets the diverse requirements of Steam's player base. I also intend to develop Figma elements into a living style guide or Storybook library, bridging the gap between design and development. Finally, integrating analytics will play a crucial role in monitoring real-world usage of future interfaces. Areas for Improvement: Accessibility: Conduct contrast audits and keyboard-only navigation tests to ensure compliance with WCAG standards. Data-Driven Insights: Incorporate quantitative metrics, such as clickstream analysis, to prioritise features based on actual usage. Final Thoughts: A Journey of Growth This Steam redesign journey has sharpened my ability to drive a UX initiative from discovery through validation within a condensed timeframe. By balancing innovation with familiarity, the project illustrates how incremental, user-centred improvements can revitalise a beloved platform without sacrificing its essence. LINK TO PROJECT: https://www.figma.com/proto/Xu5k8u1ATjpFq2hvhRWoXc/Steam_Redesign?node-id=0-1&t=aywqfNahWqCnxJeb-1

Introduction to the Project This project showcases my skills in user interface design. I aimed to create a unique interface inspired by various games while maintaining a distinct identity. The goal was to blend technical proficiency with artistic vision. Start Screen The start screen design was guided by the clean, minimalistic aesthetic found in Overwatch 2 . The objective was to create a modern and energetic entry point that foreshadows the gameplay. I focused on ease of navigation while establishing a polished first impression. Main Menu The main menu retained the overall structure of the publicly available Marathon Alpha 0.5.0.0 layout but introduced framed typographic elements to transform text into well-defined, interactive buttons. The background environment is a 3D scene titled UESC Marathon , created by Alex Murphy ( https://www.artstation.com/artwork/Aln2GW ). This scene offered a strong thematic foundation while emphasising depth and atmosphere. Loadout To distinguish the loadout experience from typical extraction shooters, I adopted the visual logic of Destiny 2’s loadout interface. This allowed for a more elegant presentation of equipment and abilities. I also used Destiny 2’s ability system as inspiration for demonstrating how Runner shells could host interchangeable abilities. This helps visualise a flexible and player-driven customisation model. Factions The faction screen preserved the structural layout of the Alpha 0.5.0.0 but enhanced visual vibrancy to create a more engaging presentation. Warframe’s faction reputation system informed a redesigned progression loop. Aligning with one faction would reduce standing with another, temporarily restricting access to certain rewards. This system introduces meaningful player choices while supporting long-term replayability. For the Oni faction, an AI-generated Pinterest image served as the illustration. While an early version included a custom Durandal video, audio limitations led to generating a revised, aesthetically coherent Oni instead. Database The Database leveraged layout principles from Destiny 2’s Triumphs interface and The Division 2’s collectibles menu to establish a clear, hierarchical structure. Alien entity renders were developed using the Inktober illustrations of Garret Post ( https://www.artstation.com/artwork/kDel2K ) as a stylistic and anatomical reference. This resulted in grounded, high-fidelity creature concepts. Black Market The Black Market was introduced as a systemic solution to the faction lockout mechanic created earlier in the design. Drawing inspiration from the player-driven economy seen in Off the Grid , this market provides alternative paths for acquiring items from factions where a player’s standing is temporarily reduced. This reinforces player agency and mitigates the frustration of hard-locking rewards. Run Summary The Run Summary drew influence from Warframe’s end-of-mission presentation. The concept centered around having a representative figure similar to the Lotus from each faction. This character would encourage, critique, or comment on the player’s performance throughout various stages of a match. This adds personality, tone, and narrative texture to the post-match experience. Conclusion This project represents a blend of my passion for game design and user interface development. By drawing inspiration from various successful games, I aimed to create a unique experience that resonates with players. The design choices reflect a commitment to clarity and engagement, ensuring that users can navigate the interface effortlessly. Reference Links Arena Hub. (2025, April 23). Full Marathon Alpha Menu Walkthrough Video]. YouTube. [https://www.youtube.com/watch?v=YQIP_VFilWQ Bonn. (2024, July 25). Marathon | Battlepass, Black Market, agents Video]. YouTube. [https://www.youtube.com/watch?v=3Nlrf3Xajis Cheese Forever. (2025, April 19). Marathon Alpha title screen and music Video]. YouTube. [https://www.youtube.com/watch?v=fQLx2zGN1sc Eastn7. (2024, November 6). Off The Grid Marketplace Explained, Hexes Breakdown, and What to do with GUNZ You’ve Earned. Video]. YouTube. [https://www.youtube.com/watch?v=slzLvDWQCoQ Forbes: Marathon привела Bungie к кризису . (2025, May 20). Shazoo. https://shazoo.ru/2025/05/20/167960/forbes-marathon-privel-bungie-k-krizisu Gameshastra Team. (2025a, August). Marathon M5 [Online forum post] . ArtStation. https://www.artstation.com/artwork/EzW12e Gameshastra Team. (2025b, August). Marathon M77 [Online forum post] . ArtStation. https://www.artstation.com/artwork/nJPNv6 God, G. (2025, August 25). Female Samurai . Pinterest. https://pin.it/595SjZX1B Interface In Game. (2020a, November 22). Mission success summary - Warframe | Interface In Game . Interface in Game. https://interfaceingame.com/screenshots/warframe-mission-success-summary/ Interface In Game. (2020b, December 8). Character - Destiny 2 | Interface in Game . Interface In Game. https://interfaceingame.com/screenshots/destiny-2-character/ Interface In Game. (2020c, December 11). Bestiary - The Witcher 3: Wild Hunt | Interface in game . Interface In Game. https://interfaceingame.com/screenshots/the-witcher-3-wild-hunt-bestiary-2/ Marathon . (n.d.). Arne Niklas Jansson, No Infringement Intended. https://androidarts.com/marathon/marathon.htm Marathon Game News! (2025, June 29). -Black Market has materials exchange to trade higher tier ones for lower tier -Map legend more clearly shows where things like anomalies & bosses are -New sniper (V99 channel rifle), takes volt cell ammo -Resurrection timers MUCH longer -New medic runner . https://x.com/MarathonBungie/status/1939137306725883910 Marathon Intel. (2025, April 23). Bungie’s Marathon – ONI Intro & CyberAcme AI Intro (all cutscenes) Video]. YouTube. [https://www.youtube.com/watch?v=Sw_PdO-W9bY Murphy, A. (2023). UESC Marathon [Online forum post] . ArtStation. https://www.artstation.com/artwork/Aln2GW Neite_yt. (2024). Artifacts [Online forum post] . Reddit. https://www.reddit.com/r/Marathon/comments/1gvq2kk/artifacts/ nervousmelon. (2020). Stasis UI (With Aspect) [Online forum post] . Reddit. https://www.reddit.com/r/destiny2/comments/ikne59/stasis_ui_with_aspect/ pokpak. (n.d.). Pixel Art Fictional Planet Pro PNG [Online forum post] . Vecteezy. https://www.vecteezy.com/png/13519075-pixel-art-fictional-planet Post, G. (2020). Inktober Week 3 [Online forum post] . ArtStation. https://www.artstation.com/artwork/kDel2K Robot100. (n.d.). Skull pixel art. 8 bit skeleton head. pixelated vector illustration. [Online forum post] . Dreamstime. https://www.dreamstime.com/skull-pixel-art-bit-skeleton-head-pixelated-vector-illustration-skull-pixel-art-bit-skeleton-head-pixelated-vector-illustration-image259119803 Runners HQ. (2025, April 23). 50 MINS of WORKING FOR TRAXUS - MARATHON ALPHA GAMEPLAY (No commentary) Video]. YouTube. [https://www.youtube.com/watch?v=O1WTRcT3SmU Shearon, A., & Orr, J. (2025, October 17). Marathon: Everything we know about Bungie's sci-fi extraction shooter . PC Gamer. https://www.pcgamer.com/games/fps/marathon-guide/ shroud. (2025a, April 25). We tryin MARATHON Video]. YouTube. [https://www.youtube.com/watch?v=ut52CJ-GinU TenielX. (2024). New loading screen in latest patch [Online forum post] . Reddit. https://www.reddit.com/r/Overwatch/comments/1fj69wt/new_loading_screen_in_latest_patch/ Wood, A. (2025, April 12). After playing Marathon for 8 hours, I don't think Bungie's extraction shooter will be the next Helldivers 2… GamesRadar+. https://www.gamesradar.com/games/fps/marathon-hands-on-preview/ Zanezooked. (2024, June 17). Lh’owon - Bungie Marathon 2: Durandal & Marathon Infinity Remix Video]. YouTube. [https://www.youtube.com/watch?v=_MPDu8DWY5Q Additional inspirations sourced from Destiny 2 , Overwatch 2 , Warframe , Doom Eternal , The Division 2 , and publicly available footage of Marathon Alpha 0.5.0.0.

In truth, I left Destiny 2 after playing Lightfall. I didn’t leave because I didn’t love the universe; rather, I left because of the removal of paid content, sunsetting, fighting the same four races since 2014 and microtransactions. I still have fond memories of being a part of the Destiny 1 Closed Alpha, to theory-crafting with friends, and playing my first raid. I have kept up-to-date on content updates and lore by watching content creators like xHOUNDISHx, Evade, LUCKYY 10P, Aztecross, and My name is Byf.  When they changed the Director from the Solar-System map we were used to, to a flat grid like Netflix has, it felt like we were losing a part of the game’s identity. I couldn’t just be mad at this being a Designer; I had to understand what was wrong with it and how to create a solution. So I bought all the new DLC on sale, came back to play on Steam, and began to create my own version of a Destiny 3 Director, which would be a fan-made, non-commercial design focused on navigation, legibility, and relating to the universe emotionally. Project framing and disclaimer This project is: This is a concept for an independently created UI project, and is not associated with or endorsed by Bungie. In creating this UI, I used both Figma and Affinity Studio, with every piece of UI either being hand-drawn or generated through image tracing. All of the UI elements were developed without AI assistance except for the alien entity 'Three'; that asset was generated through an AI image engine, and then significantly modified in Affinity Studio. All trademarks, game titles, and related assets belong to their respective owners. No proprietary or unreleased Bungie materials were used at any point. My goal is not to “fix” Destiny, but to show how I would develop a galaxy map in Destiny 3 and hopefully spark a conversation with both the community and developers who care about where the franchise goes next. Design problem: why the old Director mattered The original Destiny Solar System provided a visual representation of a location as opposed to just selecting the level; it provided an indication of progression (represented by new nodes, expansions and seasonal activities over time); and it created a balance between being visually pleasing and having clear information regarding location. The newer Netflix‑style Director gains some information density, but everything now exists in a flat carousel that’s harder to recall. The director loses its sense of wonder as the cosmos collapses into a content list, a problem already identified in a talk conducted by David Candland at GDC between 43:00-49:00 called “Tenacious Design and The Interface of Destiny” (GDC Festival of Gaming, 2016) .  (GDC Festival of Gaming, 2016) I set out to create a Director that could scale to a Destiny 3 sized universe, keep the galactic feel of the original, support modern needs like difficulty tiers, matchmade activities and seasonal hubs that feel great on both controller and mouse/keyboard. To get there, I drew heavily from Warframe’s Star Chart while staying firmly grounded to Destiny’s visual identity. The Galaxy Map: making the Milky Way feel like home A Milky Way galaxy map would allow Destiny to become a galactic travelling saga, providing a pure, simple and readable overview of many of the major systems in the universe including Sol, TRAPPIST-1, TOI-700, Kepler-62, Proxima Centauri, Gliese 357, and A2G Aridian. Each star system would group content into one easy to find place, waypointing storyline missions, location of all the new expansions, and also where all your friends are. This map creates a radial arrangement with Sol being at the centre and all of the systems radiating out from the centre of the galaxy, this represents Destiny's want to focus on Earth and the Traveller, however also gives all of the new systems their own weight and presence. Each system has a nebula effect that encompasses the colour assigned to that individual star systems. The circular boundaries outlining each nebula indicate that clicking any point in a system will direct you to that system’s local map. Theres a small difficulty cluster in the bottom left hand corner to change the difficulty of the game across the board, akin to Warframes steel path switch. The galaxy map is intended to emphasis the players emotional connection and immersion instead of scrolling through a content library. Once you select a star system, the UI shifts from galactic map to local star system. Kepler-62 I envision Kepler-62 as a time-warped, broken system being observed by a fourth-dimensional being known as “Three”. Kepler is the main point of interest with the planets Ceto, Dione and Bia orbiting it creating a visual hierarchy. The names of the planets are references to Greek deities suppose to the original naming conventions 62a, 62b,62c, etc (Wikipedia contributors, 2026) . (Wikipedia contributors, 2026) Three is positioned in the lower right of the screen, implying an encounter or patrol location, furthering the theme of being "watched" by Three. An activity bar is located on the left side, which is made up of many familiar sigils strikes, crucible, gambit, trials of osiris and raids/dungeons, giving immediate access to core activities. The layout answers three major UX questions: What you can do here (planet nodes and social hubs like Caldera). Who is involved (The Nine, among other factions) What it feels like (a mood of cosmic unease with Three watching). Trappist-1 I imagined TRAPPIST-1 as a hardened Cabal stronghold where Empress Caiatl would rally her fleets for war, and every design decision reinforces that militarised identity: The fractured planet of Torobatl dominates the map as the central battleground, with Xivu Arath’s Throne World hanging beneath visually tethered to suggest it’s the missing half of Torobatl. The visual choice for Torobatl was inspired by the concept art of Xivu Arath shrouding her surrounding in darkness , my thoughts are that she pulled the environment in her throne world. However, Xivu has now been separated from her throne world by Eris so I determined that Xivu’s connection would have to be reestablished to allow Xivu to release her hold over Torobatl, which would start a war. This would prehaps be a good starting point for Destiny 3. Sol (Bungie, 2024) Sol serves to provide an emotional centre for all of Destiny’s players, with The Pale Heart being at the centre of all that. With the Pale Heart I would suggest utilising the location to create procedural content using tile sets from new locations similar to Warframe. Hand crafted experiences are great, however, randomisation of the activity and encounters could minimise player burnout. To explain the procedural nature of the Pale Heart I suggest anything the guardians and ghosts observe can manifest within the traveller. Activity navigation When a player selects a location or area of interest, this takes them to a quest view which intentionally associates the progression of specific acitivities to the area itself similar to Warframes star chart. The left portion of the screen contains a single large, minimalist rendering of the location. On the right side of the screen there is a readable listing of available missions associated with the location, with the names of each listed mission (Transmigration, Temptation, Exegesis, Requiem, and Ascent) clear and easily scannable. A quest, strike, exotic mission, raid, etc would be listed when it becomes available. This removes currently abstract menus, helping players associate the locations with activities. In addition to this, the activities structure (strikes, lost sectors, patrol events, exotic missions, raids, and replayable quests) are completely separate from campaign missions so that new players do not lose track of their story making navigation through the campaign quick and easy (click & go!). Production In Figma, I designed and prototyped the layouts of different visual elements, layouts and reusable assets. I also cleaned up the logos and icons after vectorising them in Affinity Studio by removing any excess noise and making sure that silhouettes were as sharp as possible before I composed the finished render. These assets will make it much easier to create future projects and improvements to the user interface, since they can be easily re-themed. I then used Affinity Studio for the visual polish of the user interface by editing nebulae and planets. All of the UI elements that I created (icons, frames, rings and indicators) are all vector-based, which means they will remain razor-sharp even when viewed on a 4K display and can easily be re-themed.  The only piece of AI-generated content in this project is the entity "Three." Initially created with the help of AI, the original concept received a considerable amount of manual editing and repainting to produce a realistic render of Three. Interaction thinking Although these are static shots, every screen was designed with focus, movement and animation in mind: Radial selections for the individual star systems would have a subtly tilt or parallax towards the cursor or stick input akin to the existing animation in the game. I envision the transition from the galaxy map to the local selected star system to be a   smooth fly‑through rather than hard cuts, whereby the nebula on the galaxy map enlarges and unveils the selected system. Social prompts and difficulty toggles should stay anchored to the corners, preventing friction when players navigate through the galaxy. Final message The inspiration behind this project is similar to all those lore videos and build guides we stay up to watch at 2:00 AM, by everyone who truly cares about this universe, even when we are frustrated with the game's state. Playing the game again was nostalgic, and I believe Destiny can still continue its success. The framework is there, and luckily, Bungie has a lot of skilled staff. If you would like to give any feedback or project requests, please leave a comment below. References: ⚜️ℝ𝕠𝕄𝕒ℕ⚜️. (n.d.). Balck Hole . Pinterest. https://uk.pinterest.com/pin/667588344805409289/ AGU News. (2016, May 17). Europa’s ocean may have an Earthlike chemical balance . AGU Newsroom. https://news.agu.org/press-release/europas-ocean-may-have-an-earthlike-chemical-balance/ Ali, Z. (2023, August 7). 13 Major Updates in Destiny 2 Season 22 Players Should Look Forward to. The Game Post . https://thegamepost.com/13-major-updates-destiny-2-season-22/ Ali, Z. (2024a, August 22). Destiny 2 Echoes Act 3 promises 'One of the biggest' exotic missions, coming soon. The Game Post . https://thegamepost.com/destiny-2-echoes-act-3-biggest-exotic-mission-soon/ Ali, Z. (2024b, September 5). NetEase's Destiny Rising Mobile Game Appears To Be An "MMORPG" with "High. The Game Post . https://thegamepost.com/netease-destiny-rising-game-mmorpg-high-standards/ Anderson, R. (2023). Destiny’s Grimoire Anthology Book v  [Concept Art]. ArtStation. https://www.artstation.com/artwork/498k4k Apsey, E. (2023, February 28). Destiny 2 Pouka - lore and origin of the mysterious creature. The Loadout . https://www.theloadout.com/destiny-2/pouka Bardavelidze, T. (2020). Pyramids of Darkness  [Digital 3D]. ArtStation. https://www.artstation.com/artwork/lxxP1J Barton, T. (2018). 4K Ultra HD Sci-Fi Green Nebula Starfield  [Wallpaper]. alphacoders. Bea, R. (2025, July 16). ‘Destiny 2’ features a familiar villain’s voice in a strange place, but not for long . Inverse. https://www.inverse.com/gaming/destiny-2-recast-ikora-ray-voice-actor-sagaftra Bellbrook, D. (n.d.). Destiny 2: Leviathan  [Concept Art]. ArtStation. https://www.artstation.com/artwork/q5vwa Bungie (2024) Destiny 2: Final Shape Director [Video game]. Bungie Burgar, C. (2024, October 9). How to craft and use tonics in Destiny 2: Revenant . TheGamer. https://www.thegamer.com/destiny-2-revenant-how-to-craft-tonics/ Chalk, A. (2018, April 24). Destiny 2: Warmind stream reveals Ana Bray, new Hive horde mode, and season 3 changes. PC Gamer . https://www.pcgamer.com/destiny-2-warmind-stream-reveals-ana-bray-new-hive-horde-mode-and-season-3-changes/ Choi, C. Q., & Harvey, A. (2023, April 12). Planet Earth: Everything you need to know . Space. https://www.space.com/54-earth-history-composition-and-atmosphere.html Clark, T. (2019, August 21). 7 questions that remain unanswered by Luke Smith's Destiny 2 mega-blog . PC Gamer. https://www.pcgamer.com/7-questions-that-remain-unanswered-by-luke-smiths-destiny-2-mega-blog/ Client challenge . (n.d.-a). https://destiny.fandom.com/wiki/Mithrax Client challenge . (n.d.-b). https://destiny.fandom.com/wiki/Mithrax Cruz, A. (2021). Destiny 2: Beyond Light - Clovis Bray AI  [Digital 3D]. ArtStation. https://www.artstation.com/artwork/xJvyrE Davis, I. (n.d.). Destiny 2: The Edge of Fate - The Singularity  [Digital 3D]. ArtStation. https://www.artstation.com/artwork/0lqKOK Destiny 2: Renegades Ultimate Edition Upgrade on Steam . (n.d.). https://store.steampowered.com/app/3700550/Destiny_2_Renegades_Ultimate_Edition_Upgrade/ Destiny Bulletin. (n.d.). why  is this in the game at this point . X. https://x.com/DestinyBulletn/status/1749100486165496046 Destiny review . (2015, February 9). Eurogamer.net . https://www.eurogamer.net/destiny-review Destinypedia. (2025a, April 5). The Blooming Deep - Destinypedia, the Destiny wiki . Destinypedia. https://www.destinypedia.com/The_Blooming_Deep Destinypedia. (2025b, August 22). The Forgotten Deep - Destinypedia, the Destiny wiki . Destinypedia. https://www.destinypedia.com/The_Forgotten_Deep Destinypedia. (2025c, December 30). Kepler - Destinypedia, the Destiny wiki . Destinypedia. https://www.destinypedia.com/Kepler Destinypedia. (2026a, January 24). Riven of a Thousand Voices - Destinypedia, the Destiny wiki . Destinypedia. https://www.destinypedia.com/Riven_of_a_Thousand_Voices Destinypedia. (2026b, January 28). Lodi - Destinypedia, the Destiny wiki . Destinypedia. https://www.destinypedia.com/Lodi Destinypedia. (2026c, February 4). The Pale Heart - Destinypedia, the Destiny wiki . Destinypedia. https://www.destinypedia.com/The_Pale_Heart “Discover the Mind-Bending Wonders of the Universe: 10 Mind-Blowing Facts about Space You need to know!”  (n.d.). Futurism. https://vocal.media/futurism/discover-the-mind-bending-wonders-of-the-universe-10-mind-blowing-facts-about-space-you-need-to-know Disney [Star Wars]. (n.d.). Lola Syua . starwars.com . https://www.starwars.com/databank/lola-sayu Espinoza, L. (2025, August 17). Carina Nebula Details: Great Clouds - NASA Science . NASA Science. https://science.nasa.gov/asset/hubble/carina-nebula-details-great-clouds/ Galaxy PNG PNG transparent download - Bright Galaxy Stars - Free Transparent PNG download - PNGKey . (n.d.). PNGkey.com . https://www.pngkey.com/detail/u2e6y3y3q8t4r5i1_galaxy-png-png-transparent-download-bright-galaxy-stars/ GDC Festival of Gaming. (2016, June 17). Destiny’s tenacious design and interface  [Video]. YouTube. https://www.youtube.com/watch?v=zp4NZ8i80QI Gilliam, R. (2019, December 23). Destiny 2’s Saint-14 laughs at you if you wear his helmet. Polygon . https://www.polygon.com/2019/12/23/21035760/destiny-2-helm-of-saint-14-interaction-tower-joke-line/ Haberkorn, T. (2025, December 2). Happy Destiny 2: Renegades release day. . .to those that celebrate.   https://www.linkedin.com/posts/toddhaberkorn_haberdrifter-starwars-destiny2-activity-7401698095631425536-CfEQ/ Holt, K. (n.d.). Planet . Pinterest. https://uk.pinterest.com/pin/667588344805409701/ Instagram . (n.d.). https://www.instagram.com/p/C84z6JPNWOj/ Lemaire, R. (2025). Helldivers II - Hive Worlds / Bugs Hive  [Digital 3D]. ArtStation. https://www.artstation.com/artwork/980QvQ Les Gets. (2025, June 3). Neptune – Planet Trail - les gets . https://www.lesgets.com/en/neptune-sentier-des-planetes/ M RIZAL. (n.d.). Galaxy Overlay Space Free PNG . Vecteezy. https://www.vecteezy.com/png/26548551-galaxy-overlay-space Marsi. (n.d.). Planet . Pinterest. https://uk.pinterest.com/pin/667588344805409700/ Mayflower. (n.d.). A close up of a painting of a spiral with a sky background Generative AI  [Generative AI]. Freep!K; Free. https://www.freepik.com/premium-ai-image/close-up-painting-spiral-with-sky-background-generative-ai_58454728.htm Mesaros, C. (2025). Destiny 2 - The Final Shape: “Liminality” Strike (Arenas)  [Digital 3D]. ArtStation. https://www.artstation.com/artwork/dK2zrW Nebula – 2710ΓÇÅx1694 (16×10) . (2016, January 20). Awesome Wallpapers. https://awesomewallpapersblog.com/2016/01/19/spacefantasy-wallpaper-set-89/nebula-2710%CE%B3cax1694-16x10/ nicepng. (n.d.). Space Transparent PNG Clip Royalty Free Download - Yellow Orange Nebula Transparent PNG . Nicepng. https://www.nicepng.com/ourpic/u2q8a9u2r5r5i1y3_space-transparent-png-clip-royalty-free-download-yellow/ Northcutt, B. (2018). Solo - A Star Wars Story 2018 (Disney/LucasFilm)  [Concept Art]. ArtStation. https://www.artstation.com/artwork/bAaLk Novian Fahrurriza, M. (n.d.). Lunar Radiance Clear Background Moon Free PNG . Vecteezy. https://www.vecteezy.com/png/45354775-lunar-radiance-clear-background-moon Our experience. Your growth.  (n.d.). RINA.org . https://www.rina.org/en Path of Dreams. (n.d.). Planet . Pinterest. https://uk.pinterest.com/pin/667588344805409686/ Pickard, J. (2018, September 17). 4 activities to explore in the dreaming city in ‘Destiny 2: Forsaken.’ Fandom . https://www.fandom.com/articles/dreaming-city-destiny-2-forsaken PNG ALL. (n.d.). Nebula PNG Photo . Pngall. https://www.pngall.com/nebula-png/download/81682/ PNGKey. (n.d.). Nebula PNG transparent . Pngkey. https://www.pngkey.com/detail/u2w7a9w7i1r5q8q8_nebula-png-transparent/ Poe, M. (2025). Destiny 2: The Edge of Fate - Kepler (2025)  [Digital Lighting]. ArtStation. https://www.artstation.com/artwork/OvlXnb Roetsch, T., Moserum, M., Dilekt, Casperium, Rocha, A., & Jieanu, D. (n.d.). HD Sci-Fi Nebula: Cosmic Blue Vortex Wallpaper . Wallpaper Abyss. https://wall.alphacoders.com/big.php?i=428229 S, A. (2025). Dredgen Bael  [Digital 3D]. ArtStation. https://www.artstation.com/artwork/4NG3O4 Savage, P. (2020, November 24). Destiny 2: Beyond Light review . PC Gamer. https://www.pcgamer.com/destiny-2-beyond-light-review/ Shiny Man. (2022). Gas Giant Planet 01  [Digital 3D]. ArtStation. https://www.artstation.com/artwork/qQ6dQN Tassi, P. (2024, November 18). Here is the entire story of ‘Destiny,’ from the very start to ‘Lightfall.’ Forbes . https://www.forbes.com/sites/paultassi/2023/02/20/here-is-the-entire-story-of-destiny-from-the-very-start-to-lightfall/ TheMadScorpyon. (2022, February 22). Season of the Risen Intro Cutscene & Mission Dialogue  [Video]. YouTube. https://www.youtube.com/watch?v=3pV9VnIcuAc Thomaselli, J. (2023, March 1). Who is Nimbus in Destiny 2? explained. Twinfinite . https://twinfinite.net/guides/who-is-nimbus-in-destiny-2-explained/ Throne World - Destiny 2 Guide - IGN . (2022, March 8). IGN. https://www.ign.com/wikis/destiny-2/Throne_World Tonge, G., & Cehelsky, B. (n.d.). Majestic Nebula Galaxy HD Wallpaper . Wallpaper Abyss. https://wall.alphacoders.com/big.php?i=689588 Vassabi. (2025, April 7). earth . Pinterest. https://uk.pinterest.com/pin/1078964023328518708/ Velazquez, C. (2019). Destiny 2: Ghaul’s Warship  [Digital 3D]. ArtStation. https://www.artstation.com/artwork/A9DKdW Wallpapercave. (n.d.). Destiny Ghost Wallpaper . www.wallpapercave.com . https://wallpapercave.com/destiny-ghost-wallpapers wallpapercave. (2021). Dreaming City Wallpapers . Wallpapercave. https://wallpapercave.com/dreaming-city-wallpapers Wiki, C. T. D. (n.d.). Elsie Bray . Destiny Wiki. https://destiny.fandom.com/wiki/Elsie_Bray Wiki, C. T. D. F. (n.d.). Traveler . Destiny Fanon Wiki. https://destinyfanon.fandom.com/wiki/Traveler Wiki, C. T. V. B. (n.d.-a). HOD (Darkest Dungeon) . VS Battles Wiki. https://vsbattles.fandom.com/wiki/User_blog:Wokistan/Ancestor/HoD_(Darkest_Dungeon)#True_Form Wiki, C. T. V. B. (n.d.-b). Nezarec, Final God of Pain . VS Battles Wiki. https://vsbattles.fandom.com/wiki/Nezarec,_Final_God_of_Pain Wikipedia contributors. (2026, January 9). Kepler-62f . Wikipedia. https://en.wikipedia.org/wiki/Kepler-62f Wright, S. (2025, September 26). Destiny 2 brings back Mara Sov, Gjallarhorn and more. Stevivor . https://stevivor.com/news/destiny-2-brings-back-mara-sov-gjallarhorn/ wyspt. (2025). Lost Sector Series - Pale Heart - The Broken Deep [3440x1440]. HudlessDestiny . https://www.reddit.com/r/HudlessDestiny/comments/1kot2q9/lost_sector_series_pale_heart_the_broken_deep/ xadartstudio. (n.d.-a). Cosmic Nebula a celestial tapestry of stars and gas . Freepik. https://www.freepik.com/free-psd/cosmic-nebula-celestial-tapestry-stars-gas_406467102.htm#fromView=keyword&page=1&position=2&uuid=6fe797be-b332-4c2c-bfe3-9f316097df2a&query=Transparent+milky+way xadartstudio. (n.d.-b). Cosmic Nebula A Watercolor Galaxy . Freepik. https://www.freepik.com/free-psd/cosmic-nebula-watercolor-galaxy_406618178.htm#fromView=keyword&page=1&position=6&uuid=52f0944b-af1f-4b63-bed4-0cbac3685bfe&query=Purple+dust Zavala Wallpaper Destiny 2, HD Png Download  - kindpng . (n.d.). KindPNG.com . https://www.kindpng.com/imgv/TmTRhxm_zavala-wallpaper-destiny-2-hd-png-download/

The Power of Discord in Game Design Courses Incorporating Discord into a game design course can significantly enhance collaboration, communication, and student engagement. Discord, a popular communication platform originally designed for gamers, provides a range of features that can be effectively leveraged in a game design curriculum. Here's a summary discussing guidance on incorporating Discord into such a course. Transforming Education into an Interactive Experience In the bustling realm of game design education, the traditional lecture format can feel like a clunky side quest compared to the dynamic worlds students are eager to create. Fortunately, platforms like Discord offer a captivating solution, transforming education from a passive experience into an interactive quest for knowledge. By integrating Discord into a Game Design course, colleges can level up their academic approach, fostering collaboration, creativity, and a vibrant community that mirrors the very industry students aspire to enter. Discord's greatest strength lies in its ability to break down the physical and social barriers of the classroom. Students can now gather in dedicated channels, forming virtual groups where ideas spark, concepts morph, and feedback flows freely. Imagine a channel flowing with artists sharing sketches, programmers swapping fragments of code, and students analysing game mechanics in real-time. This continuous exchange of knowledge and perspectives accelerates learning, pushing students beyond the confines of regular lectures. Norwich University of the Arts Fostering Teamwork and Collaboration Furthermore, Discord fosters a spirit of teamwork that mirrors the collaboration at the heart of higher education, for example at Norwich University of the Arts where they maintain their own flourishing Discord server. Dedicated project channels become digital workshops where students strategise, brainstorm, and iterate on their concept art, 3D models, and game development. Discord's voice chats and screen share features facilitate the kind of informal discussions that often lead to breakthrough ideas. This collaborative environment not only hones teamwork skills but also instils a sense of shared ownership and accountability, propelling students to invest fully in their projects. Simple Viking Shield by Marcin Kozlowski Expanding Learning Beyond Projects But Discord's impact extends beyond project work. Channels dedicated to art tests, guest lecturers, industry professionals, and open forums turn the classroom into a vibrant hub of discussion and exploration. Students can interact with seasoned professionals, ask questions in real time, and gain insights into the ever-evolving game design landscape. This constant exposure to professional voices keeps the curriculum relevant and sparks students' imaginations, reminding them that their classroom creations are stepping stones towards a real-world career. Planning for Successful Integration Of course, integrating Discord into a curriculum requires careful planning and coordination with various departments such as well-being, faculty, and IT services. Establishing clear guidelines for channel usage, fostering a culture of mutual respect, and addressing potential issues like cyberbullying is crucial to ensuring a positive learning environment. Additionally, lecturers need to embrace the flexibility that Discord offers, adapting their teaching methods to accommodate asynchronous communication and student-driven discussions. Creating a Dynamic Learning Experience Ultimately, integrating Discord into a Game Design course is not just about replacing the old with the new, but about harnessing the power of technology to create a learning experience that mirrors the very industry or universities students aim to join. It's about building a community where passion fuels intellectual pursuits, collaboration sparks innovation, and the lines between learning and creating blur, transforming education from a static quest into a dynamic adventure worth playing. Support and Resources If anyone has questions or needs assistance regarding the integration of Discord, you are welcome to contact me, and we can arrange a consultation. Whether it's setting up channels, implementing moderation tools, or maximising the platform's educational potential, support is available for you. By embracing Discord, we can create a vibrant learning environment that not only enhances the educational experience but also prepares students for their future careers in game design.

In this essay, I will present specific ways Uncharted 4 uses creative communication. I’ve played the game to create an accurate subjective and analytical argument on the use of Uncharted 4 's creative communication. The game offers a rich tapestry of storytelling and gameplay mechanics that engage players on multiple levels. Creative Communication in Uncharted 4 Environment The character navigates the environment through multiple avenues. Numerous cliffs to climb and places to explore are indicated by a yellow hue or white value. NPCs (Non-Playable Characters) vary depending on locations, either breathing life into the cityscape or creating seclusion in wide-open vistas (UK Essays, 2013). Uncharted 4 combines enclosed set-pieces with expansive environments like the Madagascan savannahs (Tyrer, B., 2017). These areas provide multiple routes for engagement. Players can hide in grass, swing from grapple points, or use moveable crates to approach scenarios differently (Tyrer, B., 2017). The character embodies the visual language of an "aged adventurer who has retained his athletic prowess." This design allows players to subconsciously understand the character's limitations through visual signifiers. The game employs a combination of processes to enhance players' cognition and emotional investment. It uses three methods: visceral, behavioural, and reflective processing. These methods create an engaging experience, allowing characters to respond immediately to situations based on players' observations. The repetitive signifiers and activities establish an understanding of the game's core features. This knowledge empowers players to make conscious decisions about their potential uses during gameplay. Combat is fluid, and puzzles inject innovation and immersion. Nathan’s journal provides players with cues on how to interact with puzzles (Tyrer, B., 2017). Whether solving a riddle to open a secret door or navigating a seesaw death trap, these activities break the frantic combat loop (Tyrer, B., 2017; O’Brien, L., 2016). Although components of gameplay may seem repetitive, they are manipulated by the environment or new mechanics introduced to players, providing different outcomes in similar situations. The game is single-player, following a linear narrative that ends with the same outcome. However, I wouldn’t consider the narrative predictable. You might innocently tie a rope around a tree, just like you’ve done several times before, but suddenly find yourself hanging off a cliff. This game consistently keeps you on your toes. As Roland Barthes states, “what matters is not what it thinks but what it sees,” and this quote perfectly describes Uncharted 4 's premise. The characters' actions, such as optional conversations and dynamic AI, keep me invested in the experience. The game appeals to curiosity by providing multiple avenues to the same destination, giving the illusion of choice. Activities and the narrative do not require prior knowledge; in fact, they promote exploration. I find this exploration appropriately rewarding, frequently providing cues to solve key dilemmas blocking your path. Protagonist Vladimir Propp’s structural analysis of folklore describes the linear path a story or character may follow. His analysis allows readers to identify components that follow a sequence or sphere of action. Using Propp’s analysis, I will outline the characters' spheres of action: The Hero : Nathan Drake The Donor : Elena Fisher The Villain : Rafe Adler The Helper : Victor Sullivan The Princess : Samuel Drake Dispatcher : Evelyn The False Hero : Samuel Drake Each character fits within a sphere of action but can also embody attributes of other spheres. Understanding this helps us see how the narrative and experience are affected by the attributes and roles the characters play. Although they have predetermined roles, Roland Barthes suggests, “The function of the wrestler is not to win; it is to go exactly through the motions which are expected of him” (Barthes, R., 1972). This quote connects to Uncharted 4 due to Nathan's perpetual struggles, such as saving his brother, lying to his wife, fighting mercenaries, and seeking treasure. These stressful events are enhanced by the visual gestures and emotive dialogue used. Wrestling and games share similarities, immersing the audience regardless of the outcome being predetermined. The thrill of the performance remains the main focal point. The protagonist’s movement is a core mechanic, providing natural feedback for collisions with environments, AI (Artificial Intelligence), and objects (Lavoy, B., 2015). The mechanics are complemented by animations such as climbing, swimming, combat, and the cover system (UK Essays, 2013). Cover has a durability indicated through degrading assets (Lavoy, B., 2015). The combat system includes a small number of quick-time events that indicate opportune moments to counter or defend against incoming attacks, sustaining players' attention in combat scenarios (Tyrer, B., 2017). Time invested in the game revolves around parkour, vehicular traversal, combat, and collectibles. This time feels like a worthy contribution due to the unique outcomes that vary with each play session, providing freedom of choice (UK Essays, 2013). Observing Ian Bogost’s formula for fun, the game meets most, if not all, parameters, offering an immersive experience. As Ian states, “Fun comes from the attention and care you bring to something that offers enough freedom of movement, enough play that such attention matters” (Bogost, I., 2014). Because of the varying outcomes, players feel like active participants, adding substance to their play sessions. Conclusion I believe I have illustrated and visually referenced the specific ways Uncharted 4 uses creative communication. I provided information on methods to enhance the player experience, including visual language, processing methods, investment versus rewards, and the core and shell components. These elements significantly affect our perception of the functionality and aesthetics of game segments. Bibliography: Tyrer, B. November 2017. Uncharted: The Lost Legacy. Issue 141. PlayStation Official Magazine - UK, pages 90 – 91. Lavoy, B. July 2015. Uncharted 4: A Thief’s End First Look. online]. Available from: **[https://www.primagames.com/games/uncharted-4/feature/uncharted-4-thiefs-end-first-look [Accessed 11 November 2017]. UK Essays. November 2013. Visual Style And Elements Of Gameplay Video Games Essay. online]. Available from: **[https://www.ukessays.com/essays/video-games/visual-style-and-elements-of-gameplay-video-games-essay.php?cref=1 [Accessed 8 November 2017]. O’Brien, L. May 2016. IGN. Uncharted 4: A Thief’s End Review. online]. Available from: **[http://uk.ign.com/articles/2016/05/11/uncharted-4-a-thiefs-end-review [Accessed 8 November 2017]. Bogost, I. December 2014. WIRED by Design: A Game Designer Explains the Counterintuitive Secret to Fun. online]. Available from: **[https://www.youtube.com/watch?v=78rPt0RsosQ&index=9&list=PL45HpgHd0vKYY4FNoZUo-P88zinmNcbKu [Accessed 13 November 2017]. Barthes, R. (1972). Mythologies. Les Lettres Nouvelles. France. Isbister, K. (2016). How Games Move Us: Emotion by Design. Playful Thinking. Cambridge, Massachusetts.

TLDR Version: The four pillars of an effective game design curriculum: Art and Visual Design Technical Skills Core Game Design Principles Practical Projects and Industry Exposure A game design curriculum should provide visionaries with a solid foundation of game development's creative and technical aspects. Here I will discuss my four pillars for creating an effective game design curriculum. This blueprint focuses on the content allowing flexibility within any exam boards. (Games Design & VFX Level 1-3 BTEC - Big Creative Education, 2024) (Ual, 2024a)   Art and Visual Design Art and Visual design are vital components of a player’s overall experience. To develop an engaging game, students must grasp the core principles and how to integrate them within gameplay and narrative. Art Direction and Visual Storytelling The Creator - Storyboards by Mario Alberti Course Name: Topics Covered: (Perkins, 2024) (Ual, 2024) Level 5/6 in Art Direction and Visual Storytelling   (Government Digital Service, 2014) Principles of Visual Storytelling Composition and Design Fundamentals Concept Development Cinematography and Photography Character and Environment Design Branding and Advertising Art direction is crucial for developing visually compelling games. Foundational principles of visual design, such as  composition, colour theory, and typography  should be taught to craft art styles that not only align with the game's narrative but also, enhance the player's emotional connection to the story. The curriculum should emphasise the importance of consistency in art direction, ensuring that every visual element, from character designs to environmental assets, contributes to a unified aesthetic that reinforces the game's themes and story. (Azsan, F, 2024a) (Massive Entertainment - A Ubisoft Studio, 2023)  Student Engagement Idea:   I propose a   “Studio-based learning environment”  where students take on game studio roles for original game projects that would be marketed and published via the institution. This approach addresses the educational flaw of compartmentalised learning by integrating art direction, visual storytelling, and collaborative production into a single, cohesive experience preparing them for challenges in the gaming industry.  (Reserve for T Level, level 3 or University students) UI/UX Design for Games Course Name: Topics Covered: (Ual, 2024c) Level 3 in UI/UX Design   (Government Digital Service, 2014) Understanding User Needs Principles of User Experience Design User Interface Design Fundamentals Interaction Design Prototyping and Wireframing Testing and User Feedback User Interface (UI) and User Experience (UX) design are critical aspects of game design. The curriculum should focus on teaching students how to  design wireframes, Heads-Up Displays (HUDs), menus, understand diegetic/non-diegetic interfaces, and interactive simulations . By integrating principles of UX design, such as  user testing  and iterative design processes, students can learn to create smooth and engaging experiences. (BSc/MSCi Video Games Design | Escape Studios, 2024) (UXPin and UXPin, 2023) Student Engagement Idea:  Turn the learning process into a game, addressing traditional education's often passive and theory-heavy approach. Students actively engage with real-world UI/UX design challenges sourced from actual game studios, integrating practical experience with academic learning. This solves the issue of student disengagement and lack of practical experience, making learning more relevant, interactive, and fun. This would require a standardisation document from a participating game studio.  (Reserve for level 2, level 3 and University students) Technical Skills A well-rounded game design curriculum should include a robust focus on key technical competencies. This enhances a designer's ability to prototype and iterate on concepts and improves communication across multidisciplinary teams.   Programming Fundamentals Unreal Engine 5 Course Name: Topics Covered:  (Game Programming - Foundation degree, 2024) (Computer Games Programming BSc (Hons) - University of Gloucestershire, 2024) Level 3/4 in Programming Fundamentals (Government Digital Service, 2014) Programming Basic Game Engine Scripting Creating and Managing Game Assets Physics and Collision Detection Interactive Elements AI Programming Debugging and Optimistation Networking Basics While designers aren't expected to be expert coders, familiarity with programming languages commonly used in game development, such as  C#, C++ or native visual coding languages  is invaluable. Students should be trained to create  minimal viable products (MVP),   rapidly prototype   their concepts, a process that allows them to quickly test and refine ideas.  By learning programming fundamentals, students can  effectively communicate with developers ,  troubleshoot simple issues , and understand the  technical constraints  and possibilities when designing a game. (Writers, S, 2024) (Game Programming - Foundation degree, 2024)  3D Modeling and Animation Basics Space Marines 2 by Saber Interactive Course Name: Topics Covered:   Level 3 in 3D Modelling and Animation (Government Digital Service, 2014) 3D Modelling Techniques Texturing and UV Mapping High-Resolution and Low-Poly Modelling Rigging and Skinning Animation Principles Lighting and Rendering Optimisation and Exporting 3D modelling, texturing, and animation  basics are critical skills for game designers. Although some games may not require 3D assets, knowing the fundamentals has its benefits. It allows designers to create basic models and animations that can be used in prototypes or as placeholders during development. Moreover, this knowledge fosters better collaboration with artists, as designers can more effectively communicate their vision and understand the artistic challenges and possibilities within the game's development. Core Game Design Principles A well-rounded curriculum should ensure that students understand these fundamentals and how to apply them creatively and effectively. Player Psychology and Experience Design Player Types by Starloop Studios Course Name: Topics Covered:   BSc (Hons) in Psychology and Experience (Government Digital Service, 2014) Player Psychology Emotion and Engagement Cognitive Load and Information Processing Reward Systems and Motivation Flow Theory and Player Immersion Social Dynamics and Multiplayer Psychology Cultural and Demographic Considerations Ethics and Player Well-Being To create games that truly resonate with players, students should have a firm understanding of player psychology and experience design. This involves delving into   players' motivation , how to  design experiences that evoke specific emotions , and  how to maintain player engagement  through techniques like  flow theory . By focusing on the player's experience, students learn to create games that captivate and retain their audience, leading to a more immersive and enjoyable experience. (The University of Salford, 2024) Student Engagement Idea:  Students study player psychology by analysing their institution’s e-sports team. This approach addresses the UK educational system's flaw of separating theoretical knowledge from practical application by immersing students in real-world research that directly impacts game design. This transforms the study of player psychology into a dynamic, interactive process where students directly engage with live subjects in a high-stakes environment.  Narrative Design and Worldbuilding Overwatch Uprising Course Name: Topics Covered:   Level 5/6 in Narrative Design and Worldbuilding (Government Digital Service, 2014) Principles of Narrative Design Complex Story Structures and Nonlinear Narratives Character Development and Dialogue Writing Environmental Storytelling Integrating Mythology and Symbolism Player Choice and Consequence Narrative Pacing and Player Engagement Transmedia Storytelling and Expanding Universes In this part of the curriculum, students should learn how to craft narratives that  enhance the gameplay experience, integrating story elements seamlessly with game mechanics. This includes developing memorable characters, creating detailed and believable worlds, and designing story arcs that adapt to player choices.  By mastering these techniques, students can create worlds and stories that draw players in and keep them invested in the game. (Queensland University of Technology, 2023) Practical Projects and Industry Exposure Game Jams and Rapid Prototyping:  Participate in regular game jams through  itch.io  to encourage creativity and teach rapid development skills. Major Projects:  Culminate the courses with a major group project that synthesises all learned skills to be showcased at a digital/physical exhibit. Internships and Industry Partnerships:  Facilitate internships and gather guest speakers from game studios and other institutions to provide real-world insights, networking opportunities and work experience. By combining theoretical knowledge with practical skills and industry exposure, this concept for a game design curriculum provides an expansive foundation for institutions to work from. The industry is constantly evolving so the curriculum would be regularly updated to reflect current industry trends and technologies. Bibliography: 7 Essential skills you need to become a video game designer | Online programs (no date).  https://online.njit.edu/blog-posts/7-essential-skills-you-need-become-video-game-designer .  Allmer, M. (2023) The 13 basic principles of gameplay design.  https://www.gamedeveloper.com/design/the-13-basic-principles-of-gameplay-design .  Azsan, F. (2024a) 'The Understanding Art Direction in Video Games - Polydin,' Polydin, 31 July.  https://polydin.com/art-direction-in-video-games/ .  BSc/MSCi Video Games Design | Escape Studios (no date).  https://www.escapestudios.ac.uk/courses/undergraduate/games-design/ .  By, W. (no date) 5 timeless principles of good game design | Evercast Blog.  https://www.evercast.us/blog/game-design-principles .  Computer Games Programming BSc (Hons) - University of Gloucestershire (2024).  https://www.glos.ac.uk/courses/course/cgp-bsc-computer-games-programming/#course-modules .  Games Design & VFX Level 1-3 BTEC - Big Creative Education (2024).  https://bigcreative.education/courses/gaming/ .  Game Programming - Foundation degree (2024).  https://ucleeds.ac.uk/courses/undergraduate-courses/game-games-programming-foundation-degree/ .  Government Digital Service (2014) What qualification levels mean.  https://www.gov.uk/what-different-qualification-levels-mean/list-of-qualification-levels .  Juegoadmin (2024) 7 Essential game design principles – Every game designer should know.  https://www.juegostudio.com/blog/game-design-principles-every-game-designer-should-know .  Massive Entertainment - A Ubisoft Studio (2023) Art Direction in Video Games | A game development podcast.  https://www.youtube.com/watch?v=LNKAg2wfyGc .  Perkins, B. (2024) Visual Storytelling | New Masters Academy.  https://www.nma.art/courses/visual-storytelling/ .  Queensland University of Technology (2023) Unit.  https://www.qut.edu.au/study/unit?unitCode=DXB205 .  The University of Salford (2024) BSc (Hons) Psychology of Sport | University of Salford.  https://www.salford.ac.uk/courses/undergraduate/psychology-of-sport .  Tyler, D. (2023) '3 Game design principles (The most important),' Video Game Design and Development, 7 September.  https://www.gamedesigning.org/learn/game-design-principles/ .  Ual (2024) Art direction short course.  https://www.arts.ac.uk/subjects/communication-and-graphic-design/short-courses/art-direction/art-direction-short-course-chelsea .  Ual (2024a) BA (Hons) Games Design.  https://www.arts.ac.uk/subjects/animation-interactive-film-and-sound/undergraduate/ba-hons-games-design-lcc .  Ual (2024b) MA Narrative Environments  https://www.arts.ac.uk/subjects/architecture-spatial-and-interior-design/postgraduate/ma-narrative-environments-csm   Ual (2024c) User Experience UX Design short course.  https://www.arts.ac.uk/subjects/animation-interactive-film-and-sound/short-courses/interactive-design/user-experience-ux-design-short-course-chelsea .  UXPin and UXPin (2023) Game UX — blending game design and user experience.  https://www.uxpin.com/studio/blog/game-ux/ .  Writers, S. (2024) 'What is a video game designer? | Skills and career paths,'  ComputerScience.org , 28 August.  https://www.computerscience.org/careers/video-game-designer/ .