{"profile":{"email":"maciej@gornicki.me","channels":[{"label":"YouTube","url":"https://www.youtube.com/channel/UCOIsPOp7u5iQFUhbHZi5Jzg"}],"portrait":{"url":"/media/maciej-gornicki-portrait.jpg","source":"https://www.artstation.com/dasp","width":240,"height":240},"role":"Art Director & Creative Director","location":"London, United Kingdom","intro":["I’m Maciej, an art director and creative director with 15+ years of experience across games, apps and product design.","I connect visual design with hands-on production: 3D, UI/UX, product design and technical art. I’ve led multidisciplinary teams and taken ideas from early concepts to finished digital and physical products."],"links":{"linkedin":"https://www.linkedin.com/in/maciejgornicki/","artstation":"https://www.artstation.com/dasp","studio":"https://gbdesign.studio/"},"collaborations":["Palantir","Roblox","Zynga","Wargaming","Nickelodeon"],"strengths":[{"title":"Art direction","text":"Developing a visual direction and carrying it from early concepts into production."},{"title":"3D & visual craft","text":"Creating characters, environments, materials and lighting for games and other digital experiences."},{"title":"UI/UX","text":"Designing interfaces, animation and interaction flows with the end experience in mind."},{"title":"Product design","text":"Developing digital and physical products, from interaction concepts to objects, furniture and spaces."},{"title":"Technical art","text":"Building shaders, effects and tools that connect art with implementation."},{"title":"Creative leadership","text":"Hiring, mentoring and guiding multidisciplinary teams, including remote and outsourced production."}],"experience":[{"role":"Co-Founder & Creative Director at gb Studio","period":"July 2015 – Present","location":"London, United Kingdom · Hybrid","description":"Co-founded and lead a London studio working across games, 3D and design. GB Design Studio is our kitchen and furniture visualisation arm. Our work includes Animal Park, UI/UX for apps and web, product design and 3D printing, photoreal renders, explorable 3D rooms and production drawings for makers.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"Art Director at MindTrust Labs","period":"August 2019 – Present","location":"London, United Kingdom · Remote","description":"Lead UI/UX and visual direction for a distributed product studio across apps, web, Roblox, Babylon.js and games. Help build and mentor the art team, develop visual strategies, and deliver 3D character work and performance optimisation.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"Senior UI/UX Artist at Wargaming","period":"August 2018 – August 2019","location":"Helsinki, Finland","description":"Led UI implementation and the internal UI team for a mobile title. Directed outsourced interface work and maintained visual consistency across design and in-engine delivery.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"Art Director / Consultant at Endgame","period":"2018","location":"Seattle / Helsinki · Freelance","description":"Advised on art direction and UX for Zombs Royale and unreleased projects. Reviewed interface flows, guided visual-effects improvements and identified mobile performance optimisations.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"Artist at Zynga","period":"March 2017 – August 2018","location":"Helsinki, Finland","description":"Created character and UI artwork for FarmVille 3. Developed sculpts, models, textures and custom shaders, supported Unity workflows, and produced offline renders for marketing assets.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"3D Artist / Level Designer at Reforged Studios","period":"October 2016 – February 2017","location":"Helsinki, Finland","description":"Created characters, environments, levels and UI for a mobile project. Wrote shaders for a custom engine running on Metal and coordinated outsourced art production.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"Technical Artist / Art Team Lead at Dazzle Rocks","period":"January 2016 – September 2016","location":"Helsinki, Finland","description":"Led the art team and supported artists with technical guidance. Worked across graphics programming, visual effects, tools and 3D modelling to maintain visual quality in production.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"Co-Founder at Fellow Games","period":"2015","location":"Turku, Finland","description":"","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"Project Engineer at Turku University of Applied Sciences","period":"September 2014 – June 2015","location":"Turku, Finland","description":"Designed and programmed games and interfaces, and worked on graphics quality. Integrated technologies including Oculus Rift, Kinect, Leap Motion and augmented reality.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"3D Artist, Level Designer & Programmer at Intermarum","period":"June 2013 – June 2014","location":"Opole, Poland","description":"Created 3D content, levels and prototypes covering gameplay, AI, UI and editor tools. Contributed to graphics programming and managed builds and releases.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"Co-Founder at Kiwi Flying Mad","period":"August 2012 – June 2013","location":"Opole, Poland","description":"Co-founded the studio, created artwork from prototype to release, shaped game design and supported programming.","source":"https://www.linkedin.com/in/maciejgornicki/"},{"role":"3D Generalist / Artist at Digital Imaginary Studios","period":"January 2011 – January 2012","location":"Opole, Poland","description":"Modelled and textured 3D assets, with a focus on high-poly cars and industrial components.","source":"https://www.linkedin.com/in/maciejgornicki/"}],"practice":["My work spans character and environment art, interfaces, shaders and visual effects, alongside digital and physical product design. I’ve contributed to 10+ shipped titles across mobile, PC, VR and AR, including FarmVille 3 at Zynga, Battle Tanks at Wargaming and Paranormal Activity: The Lost Soul at MindTrust Labs. I also work on education apps, HoloLens 2 experiences and websites.","Through gb Studio, I bring that same craft to product design, 3D printing and architectural visualisation. GB Design Studio is our kitchen and fitted-furniture visualisation arm, creating photoreal renders, explorable 3D rooms and production drawings. Our work also includes Animal Park and the Clapton CFC lamp.","I move between creative direction and hands-on production: modelling, texturing, lighting, prototyping and implementing UI in Unity. I also build C# tools, develop gameplay logic and work with custom shaders and rendering pipelines.","Leading a team means helping people do their best work. I’ve hired and mentored artists, managed remote teams and coordinated internal and outsourced production. My personal projects keep me experimenting with new ideas across games and design."],"skills":["UX Design","3D Modeling","Product Design","Digital Sculpting","Environment Modeling","Hard Surface Modeling","Lighting","Low-poly Modeling","Particle Effects","Texturing","UV Mapping","Visual Effects","Game Design","Game Development","UI Design","Retopology","3D Scanning","High-poly Modeling","Level Design","Weapon Modeling","HLSL","Shaders","PBR Texturing","Texture Baking","C#","Unreal","CG","Stylized Art","GLSL","Art Direction","Creative Leadership","Architectural Visualisation","3D Printing"],"software":["3ds Max","Blender","Modo","Photoshop","Substance 3D Painter","Substance 3D Designer","Marmoset Toolbag","Unreal Engine","ZBrush","Unity","Marvelous Designer","xNormal","V-Ray","Arnold","Photoscan","Visual Studio","PopcornFx","Custom Engine","Octane Render","D5","Figma","Claude"],"recognition":[{"title":"Meet MAT · Honourable mention","detail":"Allegorithmic texturing contest, 2017","source":"https://www.linkedin.com/in/maciejgornicki/"},{"title":"Happiness · Honourable mention","detail":"Unity DirectX 11 competition, 2013","source":"https://www.linkedin.com/in/maciejgornicki/"}],"languages":"Polish · native / English · professional working proficiency"},"projects":[{"id":"3ERAGm","title":"Kitchen","categories":["Architecture"],"date":"June 15, 2026","description":"A kitchen visualisation, presented through a series of interior views.","descriptionHtml":"<p>A kitchen visualisation, presented through a series of interior views.</p>","thumbnail":"/media/original-0d772b4157eba57c110f.webp","assets":[{"type":"image","url":"/media/original-0d772b4157eba57c110f.webp","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/099/967/310/large/maciej-gornicki-scene-4-2-1.webp?1781515546","width":1920,"height":1080},{"type":"image","url":"/media/original-f1cbe4c936d359d7c3ab.webp","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/099/967/302/large/maciej-gornicki-scene-2-3-1.webp?1781515528","width":1920,"height":1080},{"type":"image","url":"/media/original-2eab295ade1f8435a470.webp","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/099/967/332/large/maciej-gornicki-scene-1-3-1-large.webp?1781515585","width":1920,"height":1080},{"type":"image","url":"/media/original-7eb7ad376781aecbfd23.webp","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/099/967/337/large/maciej-gornicki-scene-3-2-1-large.webp?1781515590","width":1920,"height":1080}],"source":"https://gornicki.me/projects/3ERAGm"},{"id":"OvAP0w","title":"Little Haven - House Project","categories":["Architecture","Personal"],"date":"April 10, 2026","description":"A design study for my own home, created before the renovation. 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designed to read clearly from a top-down camera.</p><p>I rendered the character in Arnold and used RizomUV for the first time to develop the UV layout.</p>","thumbnail":"/media/original-bd275d5d57ae3ef2961a.jpg","assets":[{"type":"image","url":"/media/original-bd275d5d57ae3ef2961a.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/011/663/972/large/maciej-gornicki-vampire5.jpg?1530736918","width":1920,"height":1920},{"type":"image","url":"/media/original-15c50842ce57893b88ca.jpg","caption":"Alternative render version","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/011/641/759/large/maciej-gornicki-vampire2.jpg?1530632438","width":1280,"height":1280},{"type":"image","url":"/media/original-7abe60d799aa52e76b08.jpg","caption":"Substance Painter 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workflows.</p>","thumbnail":"/media/original-ae25b5c880a15c29ed8a.jpg","assets":[{"type":"image","url":"/media/original-ae25b5c880a15c29ed8a.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/011/061/920/large/maciej-gornicki-haribo.jpg?1527664057","width":1920,"height":1920},{"type":"image","url":"/media/original-796e5d37f55ec2e8faaf.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/011/061/819/large/maciej-gornicki-haribo.jpg?1527663449","width":1920,"height":1920}],"source":"https://gornicki.me/projects/nnx0e"},{"id":"ExKz0","title":"Art Direction - Fantasy Cooking Game","categories":["Game Art","UI/UX","Personal"],"date":"May 28, 2018","description":"A rapid art-direction study for a Chinese game company, combining fantasy and cooking themes for a mobile game. The initial direction was developed over a weekend.","descriptionHtml":"<p>A rapid art-direction study for a Chinese game company, combining fantasy and cooking themes for a mobile game. The initial direction was developed over a weekend.</p>","thumbnail":"/media/original-6928ca3b691b786d4fe8.jpg","assets":[{"type":"image","url":"/media/original-6928ca3b691b786d4fe8.jpg","caption":"Final version that includes also UI.","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/011/023/995/large/maciej-gornicki-59.jpg?1527486160","width":1536,"height":2048},{"type":"image","url":"/media/original-d3e63aa258ee8e2499f5.jpg","caption":"Red outline is aspect ratio for iPhone X as a reference.","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/011/023/993/large/maciej-gornicki-58.jpg?1527485872","width":1536,"height":2048},{"type":"image","url":"/media/original-81bffdf196f19b4877ed.jpg","caption":"Early stage where I was doing a lot of adjustments to perspective, camera angle, shape of elements.","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/011/023/987/large/maciej-gornicki-50.jpg?1527485857","width":1536,"height":2048},{"type":"image","url":"/media/original-f6ea724d85cc0d9dedef.jpg","caption":"Some of the color versions I was testing for the game.","originalUrl":"https://cdna.artstation.com/p/assets/images/images/011/024/106/large/maciej-gornicki-colorversions.jpg?1527487064","width":1920,"height":428}],"source":"https://gornicki.me/projects/ExKz0"},{"id":"xEWx4","title":"Mobile RPG","categories":["Game Art","Technical Art","Personal"],"date":"April 28, 2018","description":"Gameplay footage from a personal mobile RPG prototype, recorded on an iPhone.","descriptionHtml":"<p>Gameplay footage from a personal mobile RPG prototype, recorded on an iPhone.</p>","thumbnail":"/media/7932ab2fc527088f35d4.webp","assets":[{"type":"embed","url":"https://www.youtube-nocookie.com/embed/lzf6PVqQb10?feature=oembed&rel=0","caption":"Gameplay Progress"}],"source":"https://gornicki.me/projects/xEWx4"},{"id":"wzDOZ","title":"Hex Grid level design for mobile game","categories":["Game Art","Personal"],"date":"April 28, 2018","description":"An early level-design study for a personal, hex-grid strategy game on mobile.","descriptionHtml":"<p>An early level-design study for a personal, hex-grid strategy game on mobile.</p>","thumbnail":"/media/original-838390992a7ae61a2820.jpg","assets":[{"type":"embed","url":"https://www.youtube-nocookie.com/embed/7CxzIbx-O5c?feature=oembed&rel=0","caption":"Gameplay Preview"},{"type":"image","url":"/media/original-838390992a7ae61a2820.jpg","caption":"Last iteration","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/010/528/869/large/maciej-gornicki-level.jpg?1524898612","width":1536,"height":2048},{"type":"image","url":"/media/original-1a32bef8a7976e5f46b1.jpg","caption":"First quick blockout and water tests. Also I had this idea to make the level dense with foliage but at the same time keeping it readable.","originalUrl":"https://cdna.artstation.com/p/assets/images/images/010/528/864/large/maciej-gornicki-progress1.jpg?1524898603","width":1920,"height":437},{"type":"image","url":"/media/original-f3fa4e41a408bf4e909e.jpg","caption":"Trying to find this sweet spot for readability of the hex grid in the middle. Sides won't be visible most of the time on mobile phones because they are for iPad aspect ratio.","originalUrl":"https://cdna.artstation.com/p/assets/images/images/010/528/866/large/maciej-gornicki-progress2.jpg?1524898607","width":1920,"height":437},{"type":"image","url":"/media/original-8bb7e4ece09ddbe161a0.jpg","caption":"Mostly trying different colors for trees and fixing details.","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/010/528/867/large/maciej-gornicki-progress3.jpg?1524898610","width":1920,"height":437}],"source":"https://gornicki.me/projects/wzDOZ"},{"id":"ebGRP","title":"Diegetic UI for mobile games","categories":["UI/UX","Technical Art","Game Art","Personal"],"date":"April 28, 2018","description":"A personal UI prototype exploring an interface that feels like part of the game world while keeping interactions clear and usable.\n\nThe prototype also includes effects driven by flow maps. Everything shown was implemented in Unity and running on a device.","descriptionHtml":"<p>A personal UI prototype exploring an interface that feels like part of the game world while keeping interactions clear and usable.</p><p>The prototype also includes effects driven by flow maps. Everything shown was implemented in Unity and running on a device.</p>","thumbnail":"/media/original-4a0790af0f2dee0cb11e.jpg","assets":[{"type":"embed","url":"https://www.youtube-nocookie.com/embed/0KMKYl3JPC4?feature=oembed&rel=0","caption":"Menu"},{"type":"image","url":"/media/original-4a0790af0f2dee0cb11e.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/010/528/560/large/maciej-gornicki-img-3106.jpg?1524895880","width":1125,"height":2001},{"type":"embed","url":"https://www.youtube-nocookie.com/embed/uSPHbnpmQTU?feature=oembed&rel=0","caption":"Closeup"},{"type":"embed","url":"https://www.youtube-nocookie.com/embed/7kVBZE3az2s?feature=oembed&rel=0","caption":"Bottom VFX"},{"type":"image","url":"/media/original-8aaf6984f2d4c18aa541.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/010/528/562/large/maciej-gornicki-img-3108.jpg?1524895884","width":1125,"height":2001},{"type":"image","url":"/media/original-73c2c53770cdaced4e57.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/010/528/565/large/maciej-gornicki-img-3109.jpg?1524895888","width":1125,"height":2001},{"type":"image","url":"/media/original-eb4c0e715e022e4f76d6.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/010/528/568/large/maciej-gornicki-img-3110.jpg?1524895892","width":1125,"height":2001},{"type":"image","url":"/media/original-ca84140eacf2e4a332ef.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/010/528/681/large/maciej-gornicki-img-3112.jpg?1524897419","width":1125,"height":2001}],"source":"https://gornicki.me/projects/ebGRP"},{"id":"BkE4bl","title":"Racing UI prototype","categories":["UI/UX","Game Art"],"date":"March 13, 2026","description":"An interface prototype for a racing game.","descriptionHtml":"<p>An interface prototype for a racing game.</p>","thumbnail":"/media/original-952afba60c49aa25af77.webp","assets":[{"type":"image","url":"/media/original-952afba60c49aa25af77.webp","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/097/179/876/large/maciej-gornicki-mindtrust-labs-screenshot-2.webp?1773404785","width":1920,"height":1141},{"type":"image","url":"/media/original-bbae7341f3a0eef1368c.webp","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/097/179/871/large/maciej-gornicki-mindtrust-labs-screenshot-3.webp?1773404779","width":912,"height":544},{"type":"image","url":"/media/original-86306decac47afb7a174.webp","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/097/179/874/large/maciej-gornicki-mindtrust-labs-image-29.webp?1773404782","width":932,"height":547}],"source":"https://gornicki.me/projects/BkE4bl"},{"id":"k6n3y","title":"Key Art - Battle","categories":["Game Art","Personal"],"date":"January 23, 2018","description":"Key art created for my writing on game UX. I experimented with the camera angle to give the scene a more dramatic composition.\n\nRead the accompanying post: https://www.artstation.com/dasp/blog/Woq/ux-in-clash-royale-part-2","descriptionHtml":"<p>Key art created for my writing on game UX. I experimented with the camera angle to give the scene a more dramatic composition.</p><p>Read the accompanying post: <a href=\"https://www.artstation.com/dasp/blog/Woq/ux-in-clash-royale-part-2\" target=\"_blank\" rel=\"noopener\">www.artstation.com/dasp/blog/Woq/ux-in-clash-royale-part-2</a></p>","thumbnail":"/media/original-47c9a26822a3d2f90ac1.jpg","assets":[{"type":"image","url":"/media/original-47c9a26822a3d2f90ac1.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/009/021/722/large/maciej-gornicki-art7.jpg?1516691108","width":1200,"height":627}],"source":"https://gornicki.me/projects/k6n3y"},{"id":"n9YEo","title":"Blog Art","categories":["Game Art","Personal"],"date":"January 16, 2018","description":"An illustration for an ArtStation blog post, using characters originally built for a mobile-game prototype with a top-down camera. The composition brings those assets into a closer view.","descriptionHtml":"<p>An illustration for an ArtStation blog post, using characters originally built for a mobile-game prototype with a top-down camera. 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The work was built for an in-house engine using a simplified PBR pipeline rendered in real time with Metal.","descriptionHtml":"<p>Environment assets for a mobile game, created in early 2017 with an art direction inspired by Warhammer.</p><p>Most objects stay below 2,000 triangles, with textures packed together to improve performance. The work was built for an in-house engine using a simplified PBR pipeline rendered in real time with Metal.</p>","thumbnail":"/media/original-47cea0931f4927fb9e37.jpg","assets":[{"type":"image","url":"/media/original-47cea0931f4927fb9e37.jpg","caption":"Gates that were used to spawn armies. Different color for different army.","originalUrl":"https://cdna.artstation.com/p/assets/images/images/008/824/518/large/maciej-gornicki-gate.jpg?1515567118","width":1920,"height":1080},{"type":"image","url":"/media/original-0012525439aa261e074c.jpg","caption":"Another version for army entry points onto battle ground.","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/008/824/511/large/maciej-gornicki-base0.jpg?1515565230","width":1920,"height":1080},{"type":"image","url":"/media/original-846939e41a39fb47f1c4.jpg","caption":"Rocks and ruins covered with moss. Background for the battlefield.","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/008/824/521/large/maciej-gornicki-rocks.jpg?1515565254","width":1920,"height":1080},{"type":"image","url":"/media/original-860843c3e4cc0d6ffb11.jpg","caption":"Obstacles and decorations for battlefield. The goal was to create interesting obstacles on the battlefield without obstructing view of the units.","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/008/824/519/large/maciej-gornicki-obstacles.jpg?1515567095","width":1920,"height":1080},{"type":"image","url":"/media/original-17ec8fda661c257ecc41.jpg","caption":"Ancient marble faces. 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fixes.</p>","thumbnail":"/media/original-7abcb48db3bde33ecfe5.jpg","assets":[{"type":"image","url":"/media/original-7abcb48db3bde33ecfe5.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/435/015/large/maciej-gornicki-larry-bar.jpg?1461698345","width":1670,"height":964},{"type":"embed","url":"https://www.youtube-nocookie.com/embed/SZajjBJscFA?feature=oembed&rel=0","caption":"Leisure Suit Larry Reloaded: Walkthrough Part 1: The Hooker"}],"source":"https://gornicki.me/projects/yZE99"},{"id":"mWrE8","title":"Race To Mars","categories":["Game Art","UI/UX","Technical Art"],"date":"April 15, 2016","description":"Race to Mars is a turn-based simulation about running a space company and working towards a colony on Mars.\n\nMy contributions covered level design, a substantial part of the interface and its functionality, graphics programming and 3D modelling.","descriptionHtml":"<p>Race to Mars is a turn-based simulation about running a space company and working towards a colony on Mars.</p><p>My contributions covered level design, a substantial part of the interface and its functionality, graphics programming and 3D modelling.</p>","thumbnail":"/media/9782d20ad6cdb7631a01.webp","assets":[{"type":"image","url":"/media/original-ed72b5fabf5685e3636a.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/361/235/large/maciej-gornicki-racetomars-main-screen.jpg?1460757880","width":1539,"height":863},{"type":"image","url":"/media/original-35c339e0399bccef1e45.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/002/361/236/large/maciej-gornicki-racetomars-exsplosion.jpg?1460757882","width":1281,"height":721},{"type":"image","url":"/media/original-1f2310b6a987ae92fc00.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/002/361/238/large/maciej-gornicki-racetomars-menu.jpg?1460757886","width":1532,"height":858},{"type":"image","url":"/media/original-e4a61cdac21b1f89523e.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/361/237/large/maciej-gornicki-racetomars-rocket-launch.jpg?1460757885","width":1280,"height":720},{"type":"image","url":"/media/original-eae1df2e59fcb89fb2d6.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/361/239/large/maciej-gornicki-racetomars-rocket.jpg?1460757887","width":1920,"height":1080},{"type":"image","url":"/media/original-f5038c5a70d8ab07599a.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/002/361/240/large/maciej-gornicki-racetomars-ui.jpg?1460757892","width":1533,"height":865},{"type":"embed","url":"https://www.youtube-nocookie.com/embed/z0P37CwZOkQ?feature=oembed&rel=0","caption":"Race To Mars Gameplay (PC HD)"}],"source":"https://gornicki.me/projects/mWrE8"},{"id":"Gzmbz","title":"Bajkoteka - Rzepka","categories":["Technical Art","Game Art"],"date":"April 26, 2016","description":"Lead programming for an interactive children’s project. I developed the 2D animation system and implemented the interface and mini-games.","descriptionHtml":"<p>Lead programming for an interactive children’s project. I developed the 2D animation system and implemented the interface and mini-games.</p>","thumbnail":"/media/original-2f77aefb4a87711e342c.jpg","assets":[{"type":"image","url":"/media/original-2f77aefb4a87711e342c.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/434/921/large/maciej-gornicki-bajkoteka-rzepka.jpg?1461697655","width":1136,"height":640},{"type":"embed","url":"https://www.youtube-nocookie.com/embed/Cm6XluTldW0?feature=oembed&rel=0","caption":"Rzepka - Julian Tuwim (Bajkoteka.pl)"}],"source":"https://gornicki.me/projects/Gzmbz"},{"id":"2nyly","title":"Against Gravity","categories":["Game Art"],"date":"April 26, 2016","description":"An iOS game created at the company I co-founded. I produced all of the artwork and most of the game design.","descriptionHtml":"<p>An iOS game created at the company I co-founded. I produced all of the artwork and most of the game design.</p>","thumbnail":"/media/original-d9cfbd8d04a13832bf0f.jpg","assets":[{"type":"image","url":"/media/original-d9cfbd8d04a13832bf0f.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/002/435/040/large/maciej-gornicki-against-gravity.jpg?1461698594","width":1547,"height":573}],"source":"https://gornicki.me/projects/2nyly"},{"id":"NEbw5","title":"Lost Story","categories":["Game Art"],"date":"April 26, 2016","description":"The third game created at the company I co-founded, released on iOS. I produced all of the artwork and most of the game design.","descriptionHtml":"<p>The third game created at the company I co-founded, released on iOS. I produced all of the artwork and most of the game design.</p>","thumbnail":"/media/original-5b6269e65380d5768cab.jpg","assets":[{"type":"image","url":"/media/original-5b6269e65380d5768cab.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/435/029/large/maciej-gornicki-lost-story-intro4.jpg?1461698480","width":1600,"height":1200},{"type":"image","url":"/media/original-5a3ead6c5a25eb5c9b5e.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/002/435/022/large/maciej-gornicki-lost-story-map0.jpg?1461698458","width":1024,"height":768},{"type":"image","url":"/media/original-2302509e6a6a6c229492.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/435/025/large/maciej-gornicki-lost-story-map1.jpg?1461698468","width":1024,"height":768},{"type":"image","url":"/media/original-efddc4ddd13329a4d6e4.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/435/023/large/maciej-gornicki-hero-lost-story.jpg?1461698462","width":1527,"height":1048},{"type":"image","url":"/media/original-53f0c1e9fb2b834c1fe4.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/002/435/026/large/maciej-gornicki-lost-story-intro.jpg?1461698471","width":1600,"height":1200},{"type":"image","url":"/media/original-56e70e862992fa323530.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/002/435/024/large/maciej-gornicki-heroine-lost-story.jpg?1461698465","width":1527,"height":1048},{"type":"image","url":"/media/original-1750b0f5ccdcc4be9b80.jpg","caption":"","originalUrl":"https://cdna.artstation.com/p/assets/images/images/002/435/028/large/maciej-gornicki-lost-story-intro3.jpg?1461698477","width":1600,"height":1200},{"type":"image","url":"/media/original-4c856b4c88494a73d20a.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/435/027/large/maciej-gornicki-lost-story-intro2.jpg?1461698474","width":1600,"height":1200}],"source":"https://gornicki.me/projects/NEbw5"},{"id":"ZR3gx","title":"Bouncy Volleyball","categories":["Game Art"],"date":"April 26, 2016","description":"My first game, released on Android and downloaded more than 20,000 times. I produced all of the artwork and most of the game design.","descriptionHtml":"<p>My first game, released on Android and downloaded more than 20,000 times. I produced all of the artwork and most of the game design.</p>","thumbnail":"/media/original-46ec8064f399e1046c66.jpg","assets":[{"type":"image","url":"/media/original-46ec8064f399e1046c66.jpg","caption":"","originalUrl":"https://cdnb.artstation.com/p/assets/images/images/002/435/059/large/maciej-gornicki-bd5hp6zwvptnqm3refsgz7osjpv1yqgz-hv8rjj1zi5lvwj8sgc5-zg9k3y2gujcn6s4-h900.jpg?1461698726","width":854,"height":480}],"source":"https://gornicki.me/projects/ZR3gx"},{"id":"studio-visualisation","title":"Kitchen & Furniture Visualisation","categories":["Architecture","Product"],"date":"","description":"Kitchen and fitted-furniture visualisations from GB Design Studio. This selection explores layouts, materials and lighting across kitchens, shelving and hallway storage.\n\nThe gallery includes photoreal renders and photographs of a finished terracotta kitchen. Photographs are labelled separately from the visualisations.","descriptionHtml":"<p>Kitchen and fitted-furniture visualisations from GB Design Studio. This selection explores layouts, materials and lighting across kitchens, shelving and hallway storage.</p><p>The gallery includes photoreal renders and photographs of a finished terracotta kitchen. Photographs are labelled separately from the visualisations.</p>","thumbnail":"/previews/gbdesign/assets/img/vis/kitchen-u-render-full.webp","assets":[{"type":"image","url":"/previews/gbdesign/assets/img/vis/kitchen-u-render-full.webp","originalUrl":"https://gbdesign.studio/assets/img/vis/kitchen-u-render-1400.webp?v=20260929n","caption":"Render of a cream U-shaped kitchen with a sink under the window, espresso machine and open shelving","width":1800,"height":1012},{"type":"image","url":"/previews/gbdesign/assets/img/vis/wine-glass-shelf-render-full.webp","originalUrl":"https://gbdesign.studio/assets/img/vis/wine-glass-shelf-render-700.webp?v=20260929n","caption":"Render of an oak shelf with a lit wine-glass rack above a marble worktop","width":1800,"height":1012},{"type":"image","url":"/previews/gbdesign/assets/img/vis/hallway-wardrobe-render-full.webp","originalUrl":"https://gbdesign.studio/assets/img/vis/hallway-wardrobe-render-600.webp?v=20260929n","caption":"Render of a hallway wardrobe with a lit arched niche, hooks and shoe space","width":900,"height":1800},{"type":"image","url":"/previews/gbdesign/assets/img/vis/terracotta-kitchen-photo-full.webp","originalUrl":"https://gbdesign.studio/assets/img/vis/terracotta-kitchen-photo-1500.webp?v=20260929n","caption":"Photo of a built terracotta kitchen with a terrazzo island, green velvet bar stools and a wave pendant light","width":1800,"height":1200},{"type":"image","url":"/previews/gbdesign/assets/img/vis/terracotta-sink-photo-full.webp","originalUrl":"https://gbdesign.studio/assets/img/vis/terracotta-sink-photo-700.webp?v=20260929n","caption":"Photo detail of a brass sink and tap on a terrazzo worktop with a marble splashback and lit oak shelf","width":960,"height":1440},{"type":"image","url":"/previews/gbdesign/assets/img/vis/kitchen-drawers-render-full.webp","originalUrl":"https://gbdesign.studio/assets/img/vis/kitchen-drawers-render-900.webp?v=20260929n","caption":"Render of white kitchen drawers pulled open under a dark marble worktop","width":1800,"height":1117},{"type":"image","url":"/previews/gbdesign/assets/img/vis/tall-units-render-full.webp","originalUrl":"https://gbdesign.studio/assets/img/vis/tall-units-render-900.webp?v=20260929n","caption":"Render of tall cream units with a built-in oven and coffee machine niche against a timber wall","width":1800,"height":1800},{"type":"image","url":"/previews/gbdesign/assets/img/vis/oven-tower-render-full.webp","originalUrl":"https://gbdesign.studio/assets/img/vis/oven-tower-render-900.webp?v=20260929n","caption":"Render of white panelled tall units with a built-in oven, microwave niche and fridge","width":1800,"height":1800}],"source":"https://gbdesign.studio/#visualisation"}],"journal":[{"id":"mA1Z","title":"Goblin the Shopkeeper — switching to Arnold","category":"Workflow","date":"01 June 2018","excerpt":"Behind the Goblin: moving from Octane to Arnold, exploring materials and lighting, and finding a workflow for a new game character.","image":"/media/f0bc052c6ef41a975e78.jpg","source":"https://www.artstation.com/dasp/blog/mA1Z/goblin-the-shopkeeper-switching-workflow-to-arnold","contentHtml":"<p>For the past few months, I’d been thinking about switching my renderer from Octane to Arnold. So when I started designing a new character for my game, I decided to render him in Arnold and learn its workflow. Here’s my work in progress.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/249/563/large/WIPGoblin0.jpg?1527869912\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/f0bc052c6ef41a975e78-830.webp\" srcset=\"/media/v1/f0bc052c6ef41a975e78-480.webp 480w, /media/v1/f0bc052c6ef41a975e78-830.webp 830w\" sizes=\"(max-width: 830px) 100vw, 830px\" width=\"830\" height=\"830\" data-full=\"/media/v1/f0bc052c6ef41a975e78-830.webp\" alt=\"\" fetchpriority=\"high\" decoding=\"async\"></a><p>First colour test in Substance Painter.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/249/557/large/Goblin.jpg?1527869796\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/8fc43b83cec55d6d793a-800.webp\" srcset=\"/media/v1/8fc43b83cec55d6d793a-480.webp 480w, /media/v1/8fc43b83cec55d6d793a-800.webp 800w, /media/v1/8fc43b83cec55d6d793a-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/8fc43b83cec55d6d793a-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>First Arnold render test.</p><h3 aria-level=\"2\"><strong>Character</strong></h3><p>The shopkeeper is a character who will mainly appear in the game’s UI. He’s more of a decoration. I want to render him in a few different poses, making weird and funky faces. One idea is to place him at the top of the shop UI, holding a coin with a greedy expression.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/249/559/large/Head1.jpg?1527869822\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/251403b751dc2eea4d95-800.webp\" srcset=\"/media/v1/251403b751dc2eea4d95-480.webp 480w, /media/v1/251403b751dc2eea4d95-800.webp 800w, /media/v1/251403b751dc2eea4d95-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/251403b751dc2eea4d95-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>An early version of the head material. You can still see that the displacement is too strong, along with a few other problems.</p><p>My game has a high-fantasy setting, and the character needs to fit into that world. Because of his role, I also wanted players to see him as a sneaky, greedy and annoying little bastard. So a goblin was an obvious choice for me.</p><h3 aria-level=\"2\"><strong>Arnold vs Octane</strong></h3><p>I had a few reasons for wanting to switch to Arnold. It’s production-ready, well-tested software, and it supports many plugins I’m interested in. Material creation also feels more intuitive to me, especially when working with things like skin, milk or jelly.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/249/561/large/Goblin4.jpg?1527869863\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/8a2f5567654605fbf74f-800.webp\" srcset=\"/media/v1/8a2f5567654605fbf74f-480.webp 480w, /media/v1/8a2f5567654605fbf74f-800.webp 800w, /media/v1/8a2f5567654605fbf74f-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"1280\" data-full=\"/media/v1/8a2f5567654605fbf74f-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>A random render.</p><p>Octane is still my guilty pleasure because of its GPU support. It’s sooo much faster when I want a quick, rough render. Another advantage is the camera’s Color Response option, which lets me apply colour grading directly to the render in 3ds Max. Last but not least, the standard camera effects feel a bit more intuitive. Maybe that’s because it’s so fast to render and iterate.</p><p>In the end, both are really good and have their own advantages.</p><p><strong>Hope you enjoy!</strong></p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/249/282/large/32923940_2047359875528684_4257893344459358208_n.jpg?1527838877\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/d05a7150d3976726de27-640.webp\" srcset=\"/media/v1/d05a7150d3976726de27-480.webp 480w, /media/v1/d05a7150d3976726de27-640.webp 640w\" sizes=\"(max-width: 640px) 100vw, 640px\" width=\"640\" height=\"640\" data-full=\"/media/v1/d05a7150d3976726de27-640.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a>"},{"id":"WB2Y","title":"UX in Lineage 2: Revolution — Part 2","category":"Game UX","date":"06 March 2018","excerpt":"The second part of my Lineage 2: Revolution analysis looks at shop offers, monetisation and their effect on the player experience.","image":"/media/92d0bfef2cae652a3754.jpg","source":"https://www.artstation.com/dasp/blog/WB2Y/ux-in-lineage-2-revolution-part-2","contentHtml":"<p>This is a continuation of the article you can find <a href=\"/journal/bo63/\">here</a>.</p><h2><strong>Monetisation</strong></h2><h3>Pop-ups and offers</h3><p>The L2: Revolution developers also use an annoying way of telling players which offers are available in the shop: full-screen pop-ups when you enter the game. Every time you get disconnected, the pop-up comes back. The game might show several offers in a short period, or even the same offer twice within ten seconds of entering the game.</p><p>Entering the in-game shop can also trigger a pop-up.</p><p>On top of that, the amount of information inside an offer can be enormous.</p><p>There’s also a “Don’t show for Today” checkbox, but it’s only available on some full-screen pop-ups and resets the following day.</p><p>These mechanics are a great way to annoy players. I’m sure we can do better than that.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/202/122/large/IMG_2933.jpg?1520261380\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/92d0bfef2cae652a3754-800.webp\" srcset=\"/media/v1/92d0bfef2cae652a3754-480.webp 480w, /media/v1/92d0bfef2cae652a3754-800.webp 800w, /media/v1/92d0bfef2cae652a3754-1139.webp 1139w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1139\" height=\"1280\" data-full=\"/media/v1/92d0bfef2cae652a3754-1139.webp\" alt=\"\" fetchpriority=\"high\" decoding=\"async\"></a><h3>“Generosity”</h3><p>Lineage is very generous to players, handing out multiple rewards every day from all kinds of quests and missions. The loot drop rate is also high. There’s even an option in the settings to ignore items below a certain grade. This generosity is part of what makes the game so addictive in the short term. Rewarding players often at the beginning is a good approach, but generous rewards can have a negative side effect over time: players quickly get used to them, and the excitement fades.</p><p>There’s a fine balance between too many rewards and not enough. Rewards are a way to motivate and excite players. Use them too often, and they stop feeling valuable. Use them too sparingly, and players lose the motivation to work towards a goal.</p><p>It all comes down to how much developers think about their audience. Understanding players is an important part of development.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/202/121/large/IMG_2952.jpg?1520261292\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/023f2caed13112fff3bb-800.webp\" srcset=\"/media/v1/023f2caed13112fff3bb-480.webp 480w, /media/v1/023f2caed13112fff3bb-800.webp 800w, /media/v1/023f2caed13112fff3bb-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/023f2caed13112fff3bb-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>The “Auto Loot Minimum Grade” setting lets us ignore items below a certain quality.</p><h2><strong>Technical</strong></h2><h3>Server</h3><p>When navigating the UI in L2: Revolution, we can experience delays when opening menus. My guess is that the game is validating player actions on the server. When this is implemented efficiently, players usually don’t notice it. In L2: Revolution, the delay is noticeable during normal use. A UI that doesn’t respond quickly enough makes it harder to interact comfortably and hurts the experience.</p><p>As a rule of thumb, a UI needs to respond within about 0.1 seconds for the reaction to feel instantaneous. Beyond that, the delay becomes noticeable. Around one second is the limit for keeping the user’s flow of thought uninterrupted; longer delays can seriously hurt the experience.</p><h2><strong>Summary</strong></h2><p>To sum up, Lineage 2: Revolution is a quality game. The UI is consistent, the art is beautiful, and players can get hooked quickly. Its similarities to the original Lineage 2 evoke nostalgia. The auto-hunting mechanic also makes the game lighter and much more approachable for a general audience.</p><p>The game monetises well, but aggressive monetisation and an addictive gameplay loop leave players exhausted. The developers bombard players with full-screen pop-ups, while the number of daily tasks, reinforced by generous rewards, creates an exhausting core loop. These elements significantly hurt the UX.</p><p>We don’t know the exact retention figures, but I suspect they’re affected too.</p><p>The US is usually the leading market for revenue, but Lineage performs much better in Asian markets, especially Japan and Korea. There could be a few reasons for this. Lineage 2 was widely popular in Korea, and players in Asia tend to have longer play sessions than players in the West.</p><p>Overall, Lineage 2: Revolution offers a mediocre user experience. I wouldn’t recommend it as a model to follow, but it has a few distinctive ideas worth exploring.</p>"},{"id":"bo63","title":"UX in Lineage 2: Revolution","category":"Game UX","date":"06 March 2018","excerpt":"A closer look at Lineage 2: Revolution: interface clarity, cognitive load, progression and the habits a mobile MMORPG creates.","image":"/media/699bfd30c86cea789d3f.jpg","source":"https://www.artstation.com/dasp/blog/bo63/ux-in-lineage-2-revolution","contentHtml":"<p>This time, I’m taking a close look at Lineage 2: Revolution, a mobile take on the MMORPG genre. It’s the younger brother of NCSOFT’s Lineage 2, released in 2003. This version was developed by Netmarble and had already grossed more than $600 million when I wrote this article.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/202/104/large/unified_app_analysis_by_country_in_all_countries_on_android_ipad_iphone.jpg?1520260278\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/094dfc51e3d366154563-800.webp\" srcset=\"/media/v1/094dfc51e3d366154563-480.webp 480w, /media/v1/094dfc51e3d366154563-800.webp 800w, /media/v1/094dfc51e3d366154563-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"640\" data-full=\"/media/v1/094dfc51e3d366154563-1280.webp\" alt=\"\" fetchpriority=\"high\" decoding=\"async\"></a><p>L2: Revolution is an example of an IP that originated on “big platforms” and successfully moved into the mobile market.</p><p>With this article, I want to answer one question: is the UX in L2: Revolution worth learning from?</p><p>Let’s start with the user interface. This is an area where MMORPGs often struggle because of how complex these games are.</p><h2>User Interface</h2><p>The first few minutes with Lineage’s interface are overwhelming. The player is hit with a massive in-game UI. Fortunately, there are good parts too. I should also mention that the tutorial limits the interface, so the developers do try to ease players into it.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/202/105/large/lineage-2-revolution-pc-1024x576.jpg?1520260323\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/699bfd30c86cea789d3f-800.webp\" srcset=\"/media/v1/699bfd30c86cea789d3f-480.webp 480w, /media/v1/699bfd30c86cea789d3f-800.webp 800w, /media/v1/699bfd30c86cea789d3f-1024.webp 1024w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1024\" height=\"576\" data-full=\"/media/v1/699bfd30c86cea789d3f-1024.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><h3>UI Pillars</h3><p>A consistent UI is the foundation of great UX, and Lineage makes a real effort here. Buttons, text, icons and backgrounds have their own distinctive look, so we don’t mistake one thing for another.</p><p>The separation between backgrounds and interactive elements is clear, and key functionality is appropriately highlighted.</p><p>The developers use familiar symbols for icons, making them intuitive for many players. The icon style also helps with clarity, and the font is readable at every size.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/202/106/large/IMG_2941s.jpg?1520260369\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/d987456070ed2ee022ee-800.webp\" srcset=\"/media/v1/d987456070ed2ee022ee-480.webp 480w, /media/v1/d987456070ed2ee022ee-800.webp 800w, /media/v1/d987456070ed2ee022ee-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/d987456070ed2ee022ee-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><h3>Notifications</h3><p>My personal favourite is the visual notification system. L2: Revolution tells players there’s something of interest in the UI with a red dot: simple and clear. Colour and contrast separate the notification from the background and make it pop. It’s a great combination of simplicity and clarity. Red also carries familiar associations that help draw our attention.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/202/110/large/IMG_2946.jpg?1520260627\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/eec98ea432114fcda600-800.webp\" srcset=\"/media/v1/eec98ea432114fcda600-480.webp 480w, /media/v1/eec98ea432114fcda600-800.webp 800w, /media/v1/eec98ea432114fcda600-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/eec98ea432114fcda600-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><h3>Delight</h3><p>Once basic user needs are met, designers can move higher in the hierarchy of needs. At the top, we have pleasure. The most memorable interfaces bring a feeling of delight to the people using them. Audio, animation, VFX, art or a combination of these can create that feeling. L2: Revolution has a few moments like this.</p><p>The screens for rewards, upgrades, equipment levelling and enchanting have beautiful particles and animations that feel really good. By building strong foundations and polishing these key screens, L2: Revolution creates a satisfying and memorable progression experience.</p><iframe class=\"journal-embed\" src=\"https://www.youtube-nocookie.com/embed/gw8E8I6xnoY?feature=oembed&amp;rel=0\" title=\"Embedded article video\" loading=\"lazy\" allow=\"encrypted-media; picture-in-picture; fullscreen\" allowfullscreen></iframe><p>Level Up</p><iframe class=\"journal-embed\" src=\"https://www.youtube-nocookie.com/embed/3E9lEEuYqjg?feature=oembed&amp;rel=0\" title=\"Embedded article video\" loading=\"lazy\" allow=\"encrypted-media; picture-in-picture; fullscreen\" allowfullscreen></iframe><p>Free shop item</p><h3>Cognitive Load</h3><p>MMORPGs rarely have a clear, minimal user interface. L2: Revolution is no different.</p><p>The interface is overwhelming, and that remains a problem well into the game. Navigating it is also slow, simply because there are so many menus. Players often feel confused by the amount of information on screen.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/202/111/large/IMG_2939.jpg?1520260683\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/197bfdd4938dbbdef7b9-800.webp\" srcset=\"/media/v1/197bfdd4938dbbdef7b9-480.webp 480w, /media/v1/197bfdd4938dbbdef7b9-800.webp 800w, /media/v1/197bfdd4938dbbdef7b9-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/197bfdd4938dbbdef7b9-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>The gameplay UI is no different. It’s hard to keep track of changes when there’s so much information. A great notification system and a consistent UI help, but they don’t solve the problem.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/202/112/large/IMG_2938_%281%29.jpg?1520260722\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/0b1fa8ccc44a028805c3-800.webp\" srcset=\"/media/v1/0b1fa8ccc44a028805c3-480.webp 480w, /media/v1/0b1fa8ccc44a028805c3-800.webp 800w, /media/v1/0b1fa8ccc44a028805c3-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/0b1fa8ccc44a028805c3-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><h3>Creating habits</h3><p>Part of the problem with information overload is our limited memory. As developers, we want players to build habits and return to our games. A complex UI with difficult navigation slows that process down.</p><p>Players also have to spend a lot of mental effort navigating the UI. That may be less noticeable on consoles and PC, but mobile games are a different beast. Players need to be aware of their surroundings, and sooner or later they get tired of a heavy interface.</p><p>One of the biggest benefits of mobile platforms is right there in the name: they’re mobile. Developers shouldn’t forget that.</p><h3>Positioning</h3><p>Lineage has two types of exit button at the top of the screen: “back” and “exit”. These try to make navigation easier, but their position forces players to reach to the top of the screen. That might not seem like a big problem, but L2: Revolution has more than 30 submenus. Over time, it makes navigation cumbersome.</p><p>Overall, the positioning of UI elements isn’t bad, but some parts could be better. A complex interface needs, at the very least, a great navigation system that lets players move quickly between screens.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/202/113/large/IMG_2945.jpg?1520260750\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/9fb5fd4234917180e663-800.webp\" srcset=\"/media/v1/9fb5fd4234917180e663-480.webp 480w, /media/v1/9fb5fd4234917180e663-800.webp 800w, /media/v1/9fb5fd4234917180e663-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"942\" data-full=\"/media/v1/9fb5fd4234917180e663-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/202/114/large/IMG_2942.jpg?1520260803\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/9de010c48f2b003ea2ef-800.webp\" srcset=\"/media/v1/9de010c48f2b003ea2ef-480.webp 480w, /media/v1/9de010c48f2b003ea2ef-800.webp 800w, /media/v1/9de010c48f2b003ea2ef-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/9de010c48f2b003ea2ef-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><h2>Gameplay</h2><h3>Auto-play</h3><p>My favourite design element in L2: Revolution is auto-hunting.</p><p>“Grind” and “MMORPG” are two words often used together. Designers use grind for several reasons, including levelling the playing field and creating a natural progression system: the more you play, the further you advance.</p><p>But there are downsides too. Grind can be addictive, and people unfamiliar with MMORPGs may be hesitant to try them because they see the genre as hardcore and time-consuming.</p><p>Older MMORPGs often had very steep progression curves. Players could spend as long as four years reaching a high level. Newer generations made the grind lighter and reduced the risk of losing experience or items. Lineage goes further.</p><p>The developers made the whole mechanic semi-automatic. You mainly need to pay attention when accepting new quests and collecting rewards. The penalty for dying is tiny, and players quickly learn that it’s OK not to focus all the time. Lineage cleverly combines idle-game mechanics with MMORPG grind to create something light and surprisingly approachable. This improves the experience by letting players enjoy a semi-idle game without giving it their full attention.</p><h3>Creating a “shop habit”</h3><p>An interesting practice used by more and more developers is offering free items or other benefits inside the shop. It tries to improve conversion by telling players, “Hey, this shop isn’t so bad. Drop in every now and then.”</p><p>It builds a habit through positive reinforcement. This may take longer to establish, but it can work better over time: players are less likely to reject it than a habit built on negative reinforcement.</p><p>Visiting the shop teaches players that they don’t need to be afraid of it, which increases the chance of conversion. Positive reinforcement can work better because it doesn’t create negative feelings.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/202/115/large/IMG_2938.jpg?1520260823\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/69db4bd9912ab24928f8-800.webp\" srcset=\"/media/v1/69db4bd9912ab24928f8-480.webp 480w, /media/v1/69db4bd9912ab24928f8-800.webp 800w, /media/v1/69db4bd9912ab24928f8-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/69db4bd9912ab24928f8-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><h3>“Away from keyboard” bonus</h3><p>Another clever use of positive reinforcement is rewarding players for being offline. The “Recess Reward” mechanic adds bonus points for every minute spent offline, up to a limit. Players can then return and choose one of three rewards. It’s a recurring feature, so we can collect it every day.</p><p>It’s a nice mechanic that uses positive reinforcement to encourage breaks. Taking a break benefits both players and developers. From a UX perspective, it’s part of empathetic design: it slows progression and helps reduce player burnout.</p><p>Players can experience burnout just as professional athletes can. That can affect both their wellbeing and retention. We should remember the responsibility that comes with designing these experiences.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/202/116/large/IMG_2940.jpg?1520260859\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/c438b7c3675553f2d93c-800.webp\" srcset=\"/media/v1/c438b7c3675553f2d93c-480.webp 480w, /media/v1/c438b7c3675553f2d93c-800.webp 800w, /media/v1/c438b7c3675553f2d93c-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/c438b7c3675553f2d93c-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><h3>Progression curve</h3><p>Progression in L2: Revolution depends heavily on player efficiency. At the time of writing, efficient play could get you to level 100 in a month without spending money, and the level cap on EU servers was 180. The whole loop can be seen as a game of resources.</p><p>What I like about Lineage’s progression curve is that it’s light enough for players to enjoy levelling up every day. Progress unlocks new features, keeping players engaged and giving them a sense of achievement. It rewards commitment without punishing players as much as a typical exponential progression curve.</p><p>On its own, this progression loop offers a nice experience. But it has downsides too, as we’ll see next.</p><h3>Core loop to hell</h3><p>Lineage 2: Revolution also has a dark side: its core gameplay loop.</p><p>Clearing all available activities takes more than an hour a day. Each activity gives a reward, and completing several activities can earn another. It’s an intensive loop and a form of Skinner box.</p><p>The worst part is how tightly it holds players, keeping them playing at high intensity for long stretches and leaving them exhausted at the end.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/202/117/large/Untitled-2.jpg?1520260890\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/012cb2589f9a49ecddb9-800.webp\" srcset=\"/media/v1/012cb2589f9a49ecddb9-480.webp 480w, /media/v1/012cb2589f9a49ecddb9-800.webp 800w, /media/v1/012cb2589f9a49ecddb9-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"514\" data-full=\"/media/v1/012cb2589f9a49ecddb9-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>This intensity comes from a fixed-ratio reward schedule: rewards arrive after a set number of actions. One characteristic of this approach is that activity increases as the reward gets closer. L2: Revolution has several quests running in parallel, so the intensity can stay high for a long time. We’re always nearing some reward.</p><p>Reinforced by the mechanics I discussed earlier, this loop creates very addictive gameplay. Because the intensity is so high, players can quickly burn out. Exploiting people for our own purposes doesn’t benefit our audience or their experience.</p><h3>Cooperation and social experience</h3><p>One element the Lineage developers haven’t explored enough is cooperation.</p><p>MMORPGs are all about social interaction: joining a clan, fighting wars, getting to know people and bonding through adventures.</p><p>In L2: Revolution, playing with others is cumbersome for several reasons. Most quests are designed for one player. If you want to complete them with a friend, you need to start and finish each one together. Otherwise, you end up in different regions, killing different monsters and unable to share experience or support each other.</p><p>Most activities focus on solo play, with only a few built around teamwork. Social interaction is a key part of retention. People naturally want to form groups, and making that difficult only hurts our games.</p><h2>Monetisation</h2><p>Monetisation is a hot topic among players, who often associate it with developers using tricks to bait them into spending money. It’s also a vital part of free-to-play games: developers need a way to earn money. Unfortunately, L2: Revolution doesn’t do much to improve the reputation of F2P monetisation.</p><h3>Aggressive monetisation</h3><p>Many companies embrace aggressive monetisation mechanics, consciously or otherwise. But the effects on long-term retention and loyalty can be negative and hard to measure. Let’s look at an example.</p><p>Using the rough split discussed here—around 5% of players paying and 95% never making an in-app purchase—developers often use a few familiar techniques to push players towards spending:</p><ul>\n<li><p>Difficulty gates: sudden increases in difficulty, common in match-three games.</p></li>\n<li><p>Excessive pop-ups with offers and discounts.</p></li>\n</ul><p>These techniques work against familiar UX principles. They create negative emotions that players can remove by spending money: negative reinforcement. That approach hurts the experience, and Lineage uses it in several places.</p><p>Gating can force players to abandon the game if they aren’t willing to pay. Even if most of the audience never spends money, that doesn’t make them unimportant.</p><p>Paying players want to enjoy the game with friends, compete and show their achievements to others. What happens if they lose that audience? They may stop playing or paying.</p><p>These two groups are closely connected. One can’t sustain the game without the other.</p><p>I think this makes it clear why aggressive monetisation is a shortsighted approach. A lack of empathy for players drives these mechanics. Let’s not lose that empathy.</p><p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/202/118/large/IMG_2951.jpg?1520261048\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/0b56bc71ec4e606c87b4-800.webp\" srcset=\"/media/v1/0b56bc71ec4e606c87b4-480.webp 480w, /media/v1/0b56bc71ec4e606c87b4-800.webp 800w, /media/v1/0b56bc71ec4e606c87b4-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/0b56bc71ec4e606c87b4-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><br></p><h3>Shop</h3><p>The shop is the main place where players spend money, and Lineage’s shop is overwhelming. It has more than 100 items across over 15 categories, including discounts, special offers and free daily items. With so many choices, players can struggle to compare options and decide what to buy. This is “choice overload”.</p><p>It doesn’t improve the experience or satisfaction of buying. Instead, it connects the purchase with anxiety and panic.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/202/119/large/IMG_2937.jpg?1520261057\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/7c0b9fb0b1ffec83a53d-800.webp\" srcset=\"/media/v1/7c0b9fb0b1ffec83a53d-480.webp 480w, /media/v1/7c0b9fb0b1ffec83a53d-800.webp 800w, /media/v1/7c0b9fb0b1ffec83a53d-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"720\" data-full=\"/media/v1/7c0b9fb0b1ffec83a53d-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Thirteen main shop categories, with more hidden inside them. You could fit a grocery store in this shop.</p><p>You can find the final part of this article <a href=\"/journal/WB2Y/\">here</a>.</p>"},{"id":"Bd87","title":"UX in Clash Royale — Part 3","category":"Game UX","date":"24 January 2018","excerpt":"The final part of my Clash Royale analysis explores how art and technical choices shape the player experience.","image":"/media/9ac75667c988dc071cbf.jpg","source":"https://www.artstation.com/dasp/blog/Bd87/ux-in-clash-royale-part-3","contentHtml":"<a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/188/456/large/Art9.jpg?1516808911\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/9ac75667c988dc071cbf-800.webp\" srcset=\"/media/v1/9ac75667c988dc071cbf-480.webp 480w, /media/v1/9ac75667c988dc071cbf-800.webp 800w, /media/v1/9ac75667c988dc071cbf-1200.webp 1200w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1200\" height=\"627\" data-full=\"/media/v1/9ac75667c988dc071cbf-1200.webp\" alt=\"\" fetchpriority=\"high\" decoding=\"async\"></a><p>In this final part, I’m looking at art and the technical side of UX. You can also read <a href=\"/journal/90l/\">part 1</a> and <a href=\"/journal/Woq/\">part 2</a>.</p><h2><strong>Technical</strong></h2><p>I’ve included this section to show that improving user experience isn’t just the job of art and design departments. Much of this is common knowledge, but paying attention to it and pushing it further matters. In a small mobile team, everyone is a UX designer, whether they like it or not.</p><h3>Fast loading times</h3><p>The title says it all. Fast loading usually means keeping the amount of data loaded into memory small. Clash Royale has a small scope, and its developers paid attention to asset optimisation. They use several tricks to reduce memory use, including sprite mirroring and limiting the number of frames in character animations. The result is really good loading times: around 4.5 seconds on the iPhone used for this test.</p><p>Of course, not every game can achieve that. It depends on the project’s goals and the type of game.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/187/974/large/spell_goblin_barrel_tex.jpg?1516721609\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/f91ffcc8e3e4f86fed41-551.webp\" srcset=\"/media/v1/f91ffcc8e3e4f86fed41-551.webp 551w\" sizes=\"(max-width: 551px) 100vw, 551px\" width=\"551\" height=\"504\" data-full=\"/media/v1/f91ffcc8e3e4f86fed41-551.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Two examples of texture packing in Clash Royale: the Elixir Collector on the left and the Goblin Barrel on the right. You can see how the developers change team colours, probably by placing the circled elements onto the unit or building.</p><h3>Loading screens</h3><p>As we’ve just discussed, loading times are a common bottleneck. Every second spent on a loading screen increases the chance of a player switching games or opening a browser. It takes away from the pleasure of playing.</p><p>Clash Royale has two loading screens: one when entering the game and another before entering a battle. That’s a restrained approach, and it works really well for UX.</p><h3>Battery Drain</h3><p>Battery drain is another common problem. Pushing a device’s performance drains its battery, and some games can empty a phone in two hours—especially those with real-time 3D graphics and an internet connection. Supercell’s art style has an advantage here. It uses pre-rendered 3D sprites, so the game is essentially 2D. That can reduce the load on the GPU and let players enjoy longer sessions. I assume this is only part of why Clash Royale uses less battery, and I don’t want to speculate too much. But it’s good to be aware of these things. Players care, and developers should too.</p><h3>Disconnecting from the game</h3><p>Clash Royale requires players to be online. As with any online game, you can lose your internet connection, especially while travelling. The game lets you rejoin a match after losing connection or closing the app. Its fast start-up time is another advantage here.</p><p>Being able to reconnect reduces anxiety. Losing the connection might not be the player’s fault. Letting them return to an important tournament match is simply empathetic.</p><p>There’s one small change that shows how Supercell thinks about players. A few months after launch, the developers noticed that players pushed harder when an opponent disconnected, hoping to gain an advantage before they returned. They removed the notification that an opponent had lost connection. Now, a disconnected opponent just looks as though they’re taking a little longer to choose a card. It’s a small change, but it gives players time to reconnect and makes things fairer.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/187/976/large/Internet.jpg?1516722239\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/0cf4ab6e69c21732783b-796.webp\" srcset=\"/media/v1/0cf4ab6e69c21732783b-480.webp 480w, /media/v1/0cf4ab6e69c21732783b-796.webp 796w\" sizes=\"(max-width: 796px) 100vw, 796px\" width=\"796\" height=\"474\" data-full=\"/media/v1/0cf4ab6e69c21732783b-796.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>On the left is the old notification that an opponent had lost connection. On the right is the message shown to a player who loses their own connection.</p><h3>Ordered randomness</h3><p>When people talk about randomness, they often have a particular experience in mind. A player might chase an item with a 1% drop rate and still not find it after 100 or 200 attempts. Many games use pseudorandom systems: deterministic under the hood, but appearing random to the player. Some also adjust the sequence to avoid frustrating streaks.</p><p>In Clash Royale, chest drops follow a predefined order that imitates randomness. It’s about the player’s mental model. If players think it’s random and enjoy it, that may be enough.</p><p>Players discovered the chest-drop order and published it, so anyone can look it up. Adjusting randomness is an interesting practice. It shows that the developers considered the experience from more than one angle.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/187/978/large/ChestOrder.jpg?1516722439\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/b970fde8f2c78c515b7e-718.webp\" srcset=\"/media/v1/b970fde8f2c78c515b7e-480.webp 480w, /media/v1/b970fde8f2c78c515b7e-718.webp 718w\" sizes=\"(max-width: 718px) 100vw, 718px\" width=\"718\" height=\"643\" data-full=\"/media/v1/b970fde8f2c78c515b7e-718.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>A screenshot from clashroyalearena.com showing part of the chest-drop order.</p><h2>Aesthetics</h2><p>Aesthetics is one of the main tools of UX design. Visual choices can make an experience incredible—or awful.</p><h3>Art Style</h3><p>Supercell created a distinctive style: a pre-rendered, Pixar-esque 3D look adapted for mobile. Strong contrast, bright colours and clear silhouettes make it readable on a phone screen.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/187/986/large/UnitColor.jpg?1516724748\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/b1bfef13916c0bed53d5-800.webp\" srcset=\"/media/v1/b1bfef13916c0bed53d5-480.webp 480w, /media/v1/b1bfef13916c0bed53d5-800.webp 800w, /media/v1/b1bfef13916c0bed53d5-966.webp 966w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"966\" height=\"700\" data-full=\"/media/v1/b1bfef13916c0bed53d5-966.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>The image above shows how distinct the units are, from their icons to their shapes and colours.</p><h3>Gameplay Colours and VFX</h3><p>Colour is valuable when it emphasises gameplay information. Clash Royale uses it to improve readability and clarity. For example:</p><ul>\n<li><p>When time runs out, a red outline flashes around the screen.</p></li>\n<li><p>Units flash a brighter colour when they take damage.</p></li>\n<li><p>A full elixir bar glows with an animated effect.</p></li>\n<li><p>Cards show radial progress until there’s enough elixir to use them.</p></li>\n<li><p>Each unit has its own characteristic colour theme.</p></li>\n<li><p>Effects show statuses such as poison and freeze.</p></li>\n<li><p>Blue and red distinguish the two teams.</p></li>\n</ul><p>All of this helps players understand the battlefield without spending too much time working out what’s happening. Visual consistency matters, especially when it’s part of gameplay. Art and game design are closely connected: interactions and visual style often work together. Understanding that relationship is how we take our games further.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/187/992/large/maxresdefault.jpg?1516724913\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/abeec0474721948beed2-404.webp\" srcset=\"/media/v1/abeec0474721948beed2-404.webp 404w\" sizes=\"(max-width: 404px) 100vw, 404px\" width=\"404\" height=\"540\" data-full=\"/media/v1/abeec0474721948beed2-404.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>When the game enters overtime, a reddish frame appears around the screen.</p><h3>UI Colours</h3><p>I’ve already touched on colour in the UI. The developers use yellow for the most important actions, green for secondary actions, and blue for backgrounds and some buttons.</p><p>Used well, colour makes the UI clearer and directs the player’s attention.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/188/451/large/UIColors.jpg?1516807523\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/be7de7c803dc31f333a7-923.webp\" srcset=\"/media/v1/be7de7c803dc31f333a7-480.webp 480w, /media/v1/be7de7c803dc31f333a7-923.webp 923w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"923\" height=\"1000\" data-full=\"/media/v1/be7de7c803dc31f333a7-923.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>There’s also a fourth colour: red, used for notifications and the exit button.</p><h2><strong>The bad in Clash Royale</strong></h2><p>Clash Royale certainly has flaws. But the developers have reduced them enough that interacting with the game is a pleasure. Improving user experience is an ongoing battle.</p><p>The biggest UX problem we encounter is input delay.</p><h3>Input delay</h3><p>Many players treat this as a bug, but it’s part of the design. Clash Royale uses an authoritative server, meaning the server controls the game logic. Player input travels to the server, where gameplay is calculated, and the server sends the result back. My assumption is that the developers use a fixed delay of around 500 ms to allow that exchange to happen reliably. A slow connection can add more delay, but most of the time the system is stable.</p><p>So why use a system that hurts the gameplay experience?</p><p>The reason is to close loopholes for cheating. Online games often attract players who don’t follow the rules. Calculating outcomes on the server removes many opportunities to cheat and keeps both players working from the same result. Most of us have encountered cheaters, so we understand why this matters. The developers sacrifice some responsiveness to improve the overall experience. It’s a trade-off we face every day. Things aren’t always black and white.</p><h3>Live games</h3><p>Games as a service was still a fairly new concept when I wrote this. Supercell focuses on games people can play for years. Supporting a game long after launch has side effects: players want more features, bigger features and shiny features. Every addition makes the game more complicated. For UX, that’s a problem that grows over time.</p><p>Even a relatively young game like Clash Royale had already seen a decline in UX. We should prepare for that pressure rather than wait for it to become a problem. Long-term planning can help.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/188/006/large/Shops.jpg?1516726391\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/e9331ccdecee32dd8204-800.webp\" srcset=\"/media/v1/e9331ccdecee32dd8204-480.webp 480w, /media/v1/e9331ccdecee32dd8204-800.webp 800w, /media/v1/e9331ccdecee32dd8204-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"1138\" data-full=\"/media/v1/e9331ccdecee32dd8204-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>New and old shop.</p><h3>Updates</h3><p>The October 2017 update introduced many changes, including one to shop items. Every few days, the shop offers an Epic Chest for coins. It’s a rare opportunity, and usually a good purchase. The update changed the item’s button to yellow. Why is that a problem? Until then, yellow had been associated with key actions and rewards, and rewards were free: no soft or premium currency required. This breaks that consistency and can create confusion, especially around purchases.</p><p>The same update removed the red text indicating that you lacked the resources to buy an item. That’s another break in consistency. It can lead players to tap an item thinking they have enough resources when they don’t.</p><p>Fortunately, the developers listened to players and brought the red text back in the following update.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/188/007/large/free-gems-377x450.jpg?1516726686\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/a97e7cbbc8f3ae617cc4-400.webp\" srcset=\"/media/v1/a97e7cbbc8f3ae617cc4-400.webp 400w\" sizes=\"(max-width: 400px) 100vw, 400px\" width=\"400\" height=\"477\" data-full=\"/media/v1/a97e7cbbc8f3ae617cc4-400.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>The free item is green, while the paid item is yellow. That breaks the earlier association between yellow and rewards.</p><h2><strong>Summary</strong></h2><p>We know the immediate effects of better UX: players feel more immersed, enjoy interacting with the game and want to come back. But there’s a longer-term effect too. Fairness and empathy build a bond between developers and players. If we care about players, they can reward us with loyalty. If we do the opposite, they’ll respond accordingly. I think this helps explain why Clash Royale is popular, and why other developers can learn from it.</p>"},{"id":"Woq","title":"UX in Clash Royale — Part 2","category":"Game UX","date":"23 January 2018","excerpt":"Continuing my Clash Royale analysis with a focus on empathy, player needs and user-centred game design.","image":"/media/359596bf04522dbc3566.jpg","source":"https://www.artstation.com/dasp/blog/Woq/ux-in-clash-royale-part-2","contentHtml":"<a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/187/565/large/Art7.jpg?1516651923\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/359596bf04522dbc3566-800.webp\" srcset=\"/media/v1/359596bf04522dbc3566-480.webp 480w, /media/v1/359596bf04522dbc3566-800.webp 800w, /media/v1/359596bf04522dbc3566-1200.webp 1200w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1200\" height=\"627\" data-full=\"/media/v1/359596bf04522dbc3566-1200.webp\" alt=\"\" fetchpriority=\"high\" decoding=\"async\"></a><p>This continues my previous blog post, which you can find <a href=\"/journal/90l/\">link</a>. The third part is <a href=\"/journal/Bd87/\">here</a>. </p><p>I’d like to start by talking about empathy.</p><h2><strong>Empathetic design</strong></h2><p>I’m a strong supporter of user-centred design in games. After all, we’re making products for people to enjoy. Clash Royale offers many examples of this approach.</p><p>Empathetic design has many benefits. When you take care of players, they respond with loyalty. That can improve retention and, in turn, conversion into paying users.</p><p>It also has a long-term effect. A player who leaves with negative feelings is less likely to return. Someone who leaves with positive memories may come back to try an update. Those memories also make it easier to convince them to try your next game.</p><p>Acquiring players for mobile games is expensive. Once we’ve brought someone into our game, their wellbeing should be a priority.</p><p>A few points we’ve already covered are particularly important for user-centred design:</p><ul>\n<li><p>Thoughtful notifications. Players know what they want to do. Don’t force them to spend their precious time on something else.</p></li>\n<li><p>A minimal shop with clear item descriptions. Most players don’t spend money—the rough figure discussed here is about 5% paying—but those who do want a good experience. Make the shop frustrating, and they may stop visiting it.</p></li>\n<li><p>Portrait mode makes one-handed interaction easier. Mobile games need to work while people are on the move. Many players don’t want to sit down and give a game all their attention.</p></li>\n</ul><h3>Interactions</h3><p>People have different habits when interacting with a UI, and changing those habits is difficult. Where possible, an interface should support more than one way to do the same thing. It takes more time and thought, but it can work for more players. Clash Royale’s developers considered this and offered several interaction options.</p><p>Gameplay gives us a clear example. Clash Royale is about placing cards on the battlefield, and the developers give us two ways to do it:</p><ul>\n<li><p>Drag and drop: drag a card from the bottom of the UI to its destination.</p></li>\n<li><p>Tap and tap: tap a card to select it, then tap the battlefield to place it.</p></li>\n</ul><p>The main menu also offers alternatives. We can donate cards in two ways:</p><ul>\n<li><p>Tap the “Donate” button.</p></li>\n<li><p>Tap the card image on a donation request, or hold it to donate several cards.</p></li>\n</ul><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/187/519/large/Donate.jpg?1516642664\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/dd10c72f9d10a50a30b5-720.webp\" srcset=\"/media/v1/dd10c72f9d10a50a30b5-480.webp 480w, /media/v1/dd10c72f9d10a50a30b5-720.webp 720w\" sizes=\"(max-width: 720px) 100vw, 720px\" width=\"720\" height=\"1280\" data-full=\"/media/v1/dd10c72f9d10a50a30b5-720.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Menu navigation:</p><ul>\n<li><p>Swipe left or right to change the view.</p></li>\n<li><p>Tap an icon at the bottom to change the view.</p></li>\n</ul><p>Chest opening has two modes too: slow and fast. It’s a small improvement, but after opening more than a hundred chests, it saves a lot of time and frustration.</p><h3>User Interface</h3><h4>Tooltips</h4><p>Clash Royale uses tooltips where something might be unclear, so players can learn through interaction. The info button always looks the same, making its meaning easy to learn. Minimal interfaces sometimes need these little guides. There’s a fine balance between too little information and too much. Tooltips give us a bit more room to find that balance.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/187/506/large/Tooltip.jpg?1516640912\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/ead8cae112a23457b429-800.webp\" srcset=\"/media/v1/ead8cae112a23457b429-480.webp 480w, /media/v1/ead8cae112a23457b429-800.webp 800w, /media/v1/ead8cae112a23457b429-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"1138\" data-full=\"/media/v1/ead8cae112a23457b429-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><h4>Economy</h4><p>The game’s economy uses two currencies: soft and premium. That’s less confusing than the four currencies found in some games. One currency might be simplest for players, but a dual-currency system has advantages in free-to-play games. It gives developers more control over the economy. When that control fails, prices can rise rapidly and players can accumulate too many items. At a broad level, a game economy resembles a real one.</p><p>Back to empathetic design: it’s easy to forget the player’s perspective. Introducing four or more currencies makes their relationships harder to understand. Adding ten shop categories to accommodate them doesn’t help either.</p><p>Overcomplicating this can hurt both revenue and user experience.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/187/507/large/Economy.jpg?1516641137\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/1850008b8f0f297e0904-400.webp\" srcset=\"/media/v1/1850008b8f0f297e0904-400.webp 400w\" sizes=\"(max-width: 400px) 100vw, 400px\" width=\"400\" height=\"533\" data-full=\"/media/v1/1850008b8f0f297e0904-400.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><h3>Gameplay</h3><p>Gameplay is what games are all about. It’s where players spend most of their time, so the experience here defines the game.</p><h4>Gameplay interactions</h4><p>When an interaction matches expectations, players don’t have to think about it. When it doesn’t, they might complain about a broken game or horrible gameplay, even if the real problem lies elsewhere. Player feedback is valuable, but someone needs to interpret it and find the underlying issue.</p><p>Clash Royale’s developers make gameplay clear by limiting distractions and providing the information players need. Some key examples are:</p><ul>\n<li><p>Spell ranges shown in red or blue, depending on the team.</p></li>\n<li><p>Clear deployment areas. Some units can be placed on the enemy’s side.</p></li>\n<li><p>Deployment times that vary between units.</p></li>\n<li><p>Damage effects showing when units hit an enemy.</p></li>\n<li><p>Effects showing statuses such as freeze or poison.</p></li>\n</ul><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/187/517/large/Other.jpg?1516642483\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/3d585c97c8b30657802f-800.webp\" srcset=\"/media/v1/3d585c97c8b30657802f-480.webp 480w, /media/v1/3d585c97c8b30657802f-800.webp 800w, /media/v1/3d585c97c8b30657802f-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"517\" data-full=\"/media/v1/3d585c97c8b30657802f-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Different visual cues.</p><p>I want to stress how important consistent interactions are. Players build habits as they read information and act on it. Consistency lets them develop mastery, become immersed and enter a flow state more easily. In a real-time competitive game, interactions can decide whether you win or lose. Their importance should be clear.</p><h4>Why placement matters</h4><p>Clash Royale is about timing, positioning and resolving small skirmishes across the battlefield. Each unit has its own deployment delay, and some can be placed on the enemy’s side. The battlefield also has a grid of equal tiles, and units snap to it when placed. Position matters because it affects what a unit targets: a tower, a building or a group of enemies.</p><p>The grid improves the experience in a big way. It gives players a clear way to understand units. A description can specify an attack range—for example, five tiles for an Archer—and players can quickly judge distance in the heat of battle. Without a grid and a shared measurement, that would be much harder in real time.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/187/516/large/Deployment.jpg?1516641752\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/58415272affc26d0b297-813.webp\" srcset=\"/media/v1/58415272affc26d0b297-480.webp 480w, /media/v1/58415272affc26d0b297-813.webp 813w\" sizes=\"(max-width: 813px) 100vw, 813px\" width=\"813\" height=\"469\" data-full=\"/media/v1/58415272affc26d0b297-813.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Different deployment areas.</p><h4>Tutorial</h4><p>Tutorials are often one of the most overlooked parts of a game, yet they’re crucial to engaging players in the first few minutes. Poor tutorial UX can lose a substantial share of the audience before they’ve really started playing.</p><p>Clash Royale throws you straight into the arena and asks you to defeat an opponent. It doesn’t treat players like idiots. It suggests what to do without restricting your movement, so you still have room to experiment. It doesn’t break the game’s flow by forcing every action.</p><p>The tutorial continues after the battle, much like normal play with a few guides. It only restricts you when you upgrade a card for the first time. That part could be better, but the key goal is to engage the player quickly. Getting into the arena within seconds does that well. The first few matches are against AI and may be tailored, though that’s hard to confirm without knowing the implementation. After seven wins, players can enter PvP battles. They get a chance to learn before facing other people.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/187/515/large/Tutorial.jpg?1516641626\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/72e924295aff1e02e989-800.webp\" srcset=\"/media/v1/72e924295aff1e02e989-480.webp 480w, /media/v1/72e924295aff1e02e989-800.webp 800w, /media/v1/72e924295aff1e02e989-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"566\" data-full=\"/media/v1/72e924295aff1e02e989-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Guides in the tutorial.</p><h4>Player Communication</h4><p>Toxicity is a common problem in online games, including League of Legends, MMORPGs and mobile games. By leaving out global chat and limiting arena communication to predefined emotes and messages, Supercell cuts out many opportunities for abuse. Clan chat is still open, but players have more control over their own group.</p><p>I’m personally in favour of limiting verbal and text interactions in games. I prefer communication through gameplay. Journey, by thatgamecompany, is a good example. Asking players to interpret signs and emotes lets them build their own way of communicating, and that can be more positive.</p><p>Many people play mobile games to relax. For them, some Clash Royale emotes can provoke negative feelings. They aren’t offensive, but players often dislike certain ones, especially the laughing emote. In the community, many asked for a permanent mute option. The developers replied that interaction was part of the experience. It’s hard to judge whether they were right. I’m personally torn.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/187/509/large/emotes.jpg?1516641333\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/1802d91a3e1113f6c280-857.webp\" srcset=\"/media/v1/1802d91a3e1113f6c280-480.webp 480w, /media/v1/1802d91a3e1113f6c280-857.webp 857w\" sizes=\"(max-width: 857px) 100vw, 857px\" width=\"857\" height=\"400\" data-full=\"/media/v1/1802d91a3e1113f6c280-857.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>In-game communication.</p><p>That’s not the end. The next and final part looks at the technical side and the art. Stay tuned!</p>"},{"id":"90l","title":"UX in Clash Royale — Part 1","category":"Game UX","date":"16 January 2018","excerpt":"The start of a three-part series on game UX, using Clash Royale to explore what makes an experience work for players.","image":"/media/945ae5373b49d281c14a.jpg","source":"https://www.artstation.com/dasp/blog/90l/ux-in-clash-royale-part-1","contentHtml":"<a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/185/060/large/Art2.jpg?1516117819\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/945ae5373b49d281c14a-800.webp\" srcset=\"/media/v1/945ae5373b49d281c14a-480.webp 480w, /media/v1/945ae5373b49d281c14a-800.webp 800w, /media/v1/945ae5373b49d281c14a-1200.webp 1200w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1200\" height=\"627\" data-full=\"/media/v1/945ae5373b49d281c14a-1200.webp\" alt=\"\" fetchpriority=\"high\" decoding=\"async\"></a><p>Welcome to my new series on UX in games. If you want to jump straight into the analysis, scroll down to “The good”. This article has three parts. You can find the second <a href=\"/journal/Woq/\">here</a> and third part <a href=\"/journal/Bd87/\">here</a>.</p><p>I want to answer a question: why is Clash Royale so popular, and how much of that comes from its UX? My personal goal is to get into the habit of analysing games and explain what I find in a way anyone can follow. I also want to encourage more appreciation for UX in games and art. I think it’s neglected in many areas of game development. As artists, we can be possessive of our own “kids”—our artwork—and feel threatened by anything that influences it. I’m sure other disciplines feel the same. That’s part of why UX experts can struggle to get people to listen.</p><p>I’d love readers to comment and tell me how I can improve future articles. Ideally, this becomes a discussion. UX matters because it saves people time. Even a small change can save hours across an entire audience.</p><p>Why UX? Because I care about players and I want them to enjoy products that I make.</p><p>UX takes on particular importance on mobile because of the devices and the way people use them. Casual games, short sessions and social interaction are common. The interface needs to be simple, gameplay needs to be readable, and the game needs to work out in the real world.</p><p>I see UX as a design philosophy that combines science with empathy for users. Generosity is part of that, but it doesn’t mean making a game easy. It means understanding the audience and designing for them. That’s why I’m starting with a game that cares about players in an interesting way.</p><h3 aria-level=\"2\">Clash Royale</h3><p>Supercell released Clash Royale in March 2016. By the time I wrote this, it had earned more than a billion dollars. It’s a competitive arena card battler with a small scope, great UX, deep gameplay and high-quality graphics. I’m mainly interested in the UX, but because it touches everything, we’ll explore several disciplines.</p><p>Clash Royale isn’t perfect, but it does a pretty good job with UX. It faces familiar problems for a live game: players expect new features and content, so the game grows more complex, and the experience can suffer. But I’d like to start with the basics.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/184/482/large/0.jpg?1516043426\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/c6274679175515066041-800.webp\" srcset=\"/media/v1/c6274679175515066041-480.webp 480w, /media/v1/c6274679175515066041-800.webp 800w, /media/v1/c6274679175515066041-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"992\" data-full=\"/media/v1/c6274679175515066041-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Clash Royale</p><h2><strong>The good</strong></h2><h3>Simplicity and minimalism</h3><p>Restraint is hard in game development. We always want to add more features. Minimalism and simplicity can be mistaken for doing less, yet they’re often essential to a fantastic experience. I’m going to try to defend that statement, so bear with me.</p><h4>A one-handed interface</h4><p>A one-handed interface isn’t a must-have for every game, but it can improve the experience. It lets people play in more situations and places, which can help retention.</p><p>Imagine someone playing on the bus home, standing up and holding a handrail.</p><p>Phones fit into everyday life, so making interaction less demanding helps. Clash Royale puts key controls within reach when using a phone with one hand. I’m leaving out the iOS Reachability feature, which helps users reach the top of the screen: it’s part of the operating system rather than the game.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/184/500/large/Placement.jpg?1516044278\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/bcbc8e5bc7f9299df415-800.webp\" srcset=\"/media/v1/bcbc8e5bc7f9299df415-480.webp 480w, /media/v1/bcbc8e5bc7f9299df415-800.webp 800w, /media/v1/bcbc8e5bc7f9299df415-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"379\" data-full=\"/media/v1/bcbc8e5bc7f9299df415-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a>I’ve outlined the key controls in red. They’re all in the lower half of the screen.<p>The main actions are available with one hand.</p><ol>\n<li>The menu bar sits at the bottom.</li>\n<li>Card donation is at the bottom.</li>\n<li>In battle, the card deck is at the bottom, where dragging or tapping begins.</li>\n<li>The chest area sits at the bottom.</li>\n<li>Pop-ups don’t fill the screen, and tapping the background closes them.</li>\n</ol><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/184/502/large/ClosePopup.jpg?1516044865\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/d83b8af84d5a94465cdd-720.webp\" srcset=\"/media/v1/d83b8af84d5a94465cdd-480.webp 480w, /media/v1/d83b8af84d5a94465cdd-720.webp 720w\" sizes=\"(max-width: 720px) 100vw, 720px\" width=\"720\" height=\"1280\" data-full=\"/media/v1/d83b8af84d5a94465cdd-720.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Tapping the highlighted area closes the window.</p><h4>UI depth</h4><p>There’s something interesting about Clash Royale’s interface: it rarely goes more than one level deep. When it does, that depth is cleverly presented to feel like a single level. Most pop-ups also leave the background visible. Why does this matter?</p><p>People can get confused when navigating several windows. They forget how to get back, lose their place and feel overwhelmed. That frustration hurts the experience.</p><p>A mental model is a person’s understanding of how something works. We need interfaces that match those expectations. A pop-up rather than a full-screen window helps people stay oriented because they can still see the previous screen behind it. It’s a small detail, but with UX, details matter.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/184/506/large/Window_Types.jpg?1516045934\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/940364d5b47e5fb90238-800.webp\" srcset=\"/media/v1/940364d5b47e5fb90238-480.webp 480w, /media/v1/940364d5b47e5fb90238-800.webp 800w, /media/v1/940364d5b47e5fb90238-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"456\" data-full=\"/media/v1/940364d5b47e5fb90238-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>The different types of window in Clash Royale.</p><h4>One menu to rule them all</h4><p>The main menu has shortcuts along the bottom for moving between screens. Keeping them visible makes navigation convenient. Players know where they are and feel in control because they can return to the screen they need. The categories are intuitive because they follow different player needs:</p><ul>\n<li>Social: communicating and interacting with other players.</li>\n<li>Battle: core gameplay.</li>\n<li>Shop: items and currencies available to buy.</li>\n<li>Cards: the deck builder, cards and upgrades.</li>\n<li>Events: tournaments and special events.</li>\n</ul><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/184/508/large/IMG_2808.jpg?1516046440\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/c60813ccd3e938a09352-720.webp\" srcset=\"/media/v1/c60813ccd3e938a09352-480.webp 480w, /media/v1/c60813ccd3e938a09352-720.webp 720w\" sizes=\"(max-width: 720px) 100vw, 720px\" width=\"720\" height=\"1280\" data-full=\"/media/v1/c60813ccd3e938a09352-720.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Main screen.</p><h3>Cognitive Load</h3><p>This section is about the brain’s limitations. We can only process so much information at once. Beyond that, we start to feel overwhelmed and confused. Interfaces need to respect this.</p><h4>In-game shop</h4><p>The in-game shop is very minimal. Usually, there are no more than six items on screen.</p><p>The paradox of choice describes how too many options can make decisions harder and create anxiety. Our short-term memory is limited too. Asking people to remember a lot of information or calculate things in their heads can create a really bad experience.</p><p>Together, these ideas show why we should be careful about how much information we put in front of players. Clash Royale’s shop is a good example:</p><ul>\n<li>A small number of items to choose from.</li>\n<li>Clear distinctions between items.</li>\n<li>Clearly highlighted special offers.</li>\n<li>Discounts explained in a single line.</li>\n</ul><p>Some might argue that a better shopping experience doesn’t make the player experience better: it could lead people to spend more than they want. I believe players deserve respect and freedom of choice. Giving them the information they need, without creating anxiety, puts them in a better position to decide for themselves.</p><p>Personally, I prefer the previous version of the shop. It was simpler, with less information on screen. I also understand the reasons for the change, which are tied to the game’s economy. Even so, it remains one of the simpler shops in mobile games.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/184/510/large/Shop.jpg?1516046651\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/bef093969f443ec4b265-800.webp\" srcset=\"/media/v1/bef093969f443ec4b265-480.webp 480w, /media/v1/bef093969f443ec4b265-800.webp 800w, /media/v1/bef093969f443ec4b265-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"760\" data-full=\"/media/v1/bef093969f443ec4b265-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>Old shop, new shop and special offer.</p><h4>Restraint with notifications</h4><p>I’m passionate—and a little emotional—about this one. Every game that opens a session with more than one pop-up should burn in hell. Mobile sessions can be only two to five minutes long. Making players work through several pop-ups, even two, wastes their time. They usually enter with a goal, so they’re unlikely to focus on those messages anyway. A better option is one pop-up at most, or a notification bubble in the UI. Clash Royale uses both with respect for players. I think players appreciate it, even if they don’t consciously notice.</p><a href=\"https://cdna.artstation.com/p/media_assets/images/images/000/184/534/large/IMG_2817.jpg?1516049979\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/bfcd1e4764464d74ccec-720.webp\" srcset=\"/media/v1/bfcd1e4764464d74ccec-480.webp 480w, /media/v1/bfcd1e4764464d74ccec-720.webp 720w\" sizes=\"(max-width: 720px) 100vw, 720px\" width=\"720\" height=\"1280\" data-full=\"/media/v1/bfcd1e4764464d74ccec-720.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>The notification screen shown at the start of the game.</p><h4>Key UI elements need special treatment</h4><p>Games often use distinctive, bright colours for important controls. Clash Royale is no different. It uses yellow for actions such as Enter Battle, Request Cards, Use Card and Invite Friend. These controls often have an extra effect too, such as an animated highlight.</p><p>Green highlights secondary actions, including Donate, Buy and Upgrade Card.</p><p>Red is used for notifications. Blue dominates the backgrounds and less important elements.</p><a href=\"https://cdnb.artstation.com/p/media_assets/images/images/000/184/521/large/Focus.jpg?1516049037\" target=\"_blank\" rel=\"noopener\"><img src=\"/media/v1/3b9aa3439ae774483689-800.webp\" srcset=\"/media/v1/3b9aa3439ae774483689-480.webp 480w, /media/v1/3b9aa3439ae774483689-800.webp 800w, /media/v1/3b9aa3439ae774483689-1280.webp 1280w\" sizes=\"(max-width: 880px) 100vw, 880px\" width=\"1280\" height=\"1164\" data-full=\"/media/v1/3b9aa3439ae774483689-1280.webp\" alt=\"\" loading=\"lazy\" decoding=\"async\"></a><p>I blurred the main screen slightly to show which elements remain clearly visible.</p><p>That’s all for now. Stay tuned for part two, where I’ll talk about empathetic design, gameplay and more…</p>"}],"images":{"/media/012cb2589f9a49ecddb9.jpg":[1280,514,[480,800,1280]],"/media/023f2caed13112fff3bb.jpg":[1280,720,[480,800,1280]],"/media/094dfc51e3d366154563.jpg":[1280,640,[480,800,1280]],"/media/0b1fa8ccc44a028805c3.jpg":[1280,720,[480,800,1280]],"/media/0b56bc71ec4e606c87b4.jpg":[1280,720,[480,800,1280]],"/media/0cf4ab6e69c21732783b.jpg":[796,474,[480,796]],"/media/0f4cbcfeda3cd3efefeb.webp":[1280,720,[480,800,1280]],"/media/1802d91a3e1113f6c280.jpg":[857,400,[480,857]],"/media/1850008b8f0f297e0904.jpg":[400,533,[400]],"/media/197bfdd4938dbbdef7b9.jpg":[1280,720,[480,800,1280]],"/media/1c208457bd35ac813999.gif":[503,null,[503]],"/media/2030d72b2dcdc1eecc52.webp":[480,360,[480]],"/media/251403b751dc2eea4d95.jpg":[1280,720,[480,800,1280]],"/media/359596bf04522dbc3566.jpg":[1200,627,[480,800,1200]],"/media/3b9aa3439ae774483689.jpg":[1280,1164,[480,800,1280]],"/media/3d585c97c8b30657802f.jpg":[1280,517,[480,800,1280]],"/media/56d7309dd4eb9df25c2d.gif":[1080,null,[480,800,1080]],"/media/58415272affc26d0b297.jpg":[813,469,[480,813]],"/media/688721b7dfbaff34f280.gif":[400,null,[400]],"/media/699bfd30c86cea789d3f.jpg":[1024,576,[480,800,1024]],"/media/69db4bd9912ab24928f8.jpg":[1280,720,[480,800,1280]],"/media/72e924295aff1e02e989.jpg":[1280,566,[480,800,1280]],"/media/7932ab2fc527088f35d4.webp":[1280,720,[480,800,1280]],"/media/7c0b9fb0b1ffec83a53d.jpg":[1280,720,[480,800,1280]],"/media/7d13fb1342a4b7daa326.webp":[1600,900,[480,800,1280,1600]],"/media/8a2f5567654605fbf74f.jpg":[1280,1280,[480,800,1280]],"/media/8fc43b83cec55d6d793a.jpg":[1280,720,[480,800,1280]],"/media/92d0bfef2cae652a3754.jpg":[1139,1280,[480,800,1139]],"/media/940364d5b47e5fb90238.jpg":[1280,456,[480,800,1280]],"/media/945ae5373b49d281c14a.jpg":[1200,627,[480,800,1200]],"/media/94cb9765636742e98872.webp":[1600,1600,[480,800,1280,1600]],"/media/9782d20ad6cdb7631a01.webp":[1320,960,[480,800,1320]],"/media/9793b7f75775447305cd.gif":[478,null,[478]],"/media/9ac75667c988dc071cbf.jpg":[1200,627,[480,800,1200]],"/media/9de010c48f2b003ea2ef.jpg":[1280,720,[480,800,1280]],"/media/9fb5fd4234917180e663.jpg":[1280,942,[480,800,1280]],"/media/a6887b8dea80783f1ece.gif":[580,null,[480,580]],"/media/a711ee39b15edd680865.webp":[1600,900,[480,800,1280,1600]],"/media/a97e7cbbc8f3ae617cc4.jpg":[400,477,[400]],"/media/abeec0474721948beed2.jpg":[404,540,[404]],"/media/b1bfef13916c0bed53d5.jpg":[966,700,[480,800,966]],"/media/b970fde8f2c78c515b7e.jpg":[718,643,[480,718]],"/media/bcbc8e5bc7f9299df415.jpg":[1280,379,[480,800,1280]],"/media/be7de7c803dc31f333a7.jpg":[923,1000,[480,923]],"/media/bef093969f443ec4b265.jpg":[1280,760,[480,800,1280]],"/media/bfcd1e4764464d74ccec.jpg":[720,1280,[480,720]],"/media/c438b7c3675553f2d93c.jpg":[1280,720,[480,800,1280]],"/media/c60813ccd3e938a09352.jpg":[720,1280,[480,720]],"/media/c6274679175515066041.jpg":[1280,992,[480,800,1280]],"/media/d05a7150d3976726de27.jpg":[640,640,[480,640]],"/media/d7026e9216e95fb0e235.gif":[1024,null,[480,800,1024]],"/media/d83b8af84d5a94465cdd.jpg":[720,1280,[480,720]],"/media/d987456070ed2ee022ee.jpg":[1280,720,[480,800,1280]],"/media/dd10c72f9d10a50a30b5.jpg":[720,1280,[480,720]],"/media/e3573ecb103841aa34e9.webp":[1116,1800,[480,800,1116]],"/media/e9331ccdecee32dd8204.jpg":[1280,1138,[480,800,1280]],"/media/ead8cae112a23457b429.jpg":[1280,1138,[480,800,1280]],"/media/ecec915b590143ab08a9.gif":[480,null,[480]],"/media/eec98ea432114fcda600.jpg":[1280,720,[480,800,1280]],"/media/f0bc052c6ef41a975e78.jpg":[830,830,[480,830]],"/media/f91ffcc8e3e4f86fed41.jpg":[551,504,[551]],"/media/gbdesign-website-home.jpg":[1265,712,[480,800,1265]],"/media/gbdesign-website-services.jpg":[1265,712,[480,800,1265]],"/media/gbdesign-website-visualisation.jpg":[1265,712,[480,800,1265]],"/media/maciej-gornicki-portrait.jpg":[240,240,[240]],"/media/original-0010e9d6b73308226fee.jpg":[1920,1920,[480,800,1280,1920]],"/media/original-0012525439aa261e074c.jpg":[1920,1080,[480,800,1280,1920]],"/media/original-01155b80de104ba704eb.webp":[1440,1024,[480,800,1440]],"/media/original-01c94828a258919590b4.jpg":[1920,1341,[480,800,1280,1920]],"/media/original-01ccd449aff6887d7dab.jpg":[1144,644,[480,800,1144]],"/media/original-0234be417b33fa6c10d0.webp":[1440,1024,[480,800,1440]],"/media/original-033e2be02060c8a62d05.jpg":[1920,1080,[480,800,1280,1920]],"/media/original-03fb7e3a81ac9ab270c3.jpg":[1125,2436,[480,800,1125]],"/media/original-04839a551d577dd26191.jpg":[1920,1920,[480,800,1280,1920]],"/media/original-050a834589ef9a7b717d.jpg":[1536,2048,[480,800,1280,1536]],"/media/original-058d90d6ccd4c0ae7966.jpg":[780,1688,[480,780]],"/media/original-0615cb663e7bd4bbaf75.jpg":[1176,1176,[480,800,1176]],"/media/original-06aa7cf2f74fb36097e0.jpg":[1080,1920,[480,800,1080]],"/media/original-0734f413646c9b1240ca.jpg":[1920,1080,[480,800,1280,1920]],"/media/original-08cbdac28528f2685143.jpg":[1434,2550,[480,800,1434]],"/media/original-0976639ed0e283089c97.webp":[1920,1088,[480,800,1280,1920]],"/media/original-0a5f2ad6c0144876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