Decades of crafting games with passion.

Mosaica games feature complex animated UIs and many overlapping RPG systems, abilities, items, and perks granted by in‑game characters that the player can mix and match. Each character contributes its own modifiers, so combinations cascade into emergent synergies and every run plays out a little differently.

Underneath, everything is powered by Unity's ECS / DOTS, the data‑oriented stack, which lets levels scale comfortably and keeps the moment‑to‑moment framerate smooth. The architecture also makes the codebase easy to extend: new abilities, items, and perks plug into the same pipelines, which is what makes regular content updates sustainable and longer engagement times possible.

Overall, a very fun project to work on.

Working on Mosaique has been a masterclass in game development, millions of copies sold across the franchise, with strong, consistent feedback from players.

I see Mosaique as the stepping stone to Mosaica. Every iteration taught me what to build, what to throw away, and what good systems should look like. Mosaica's foundation is the direct result: more robust, more developed, more development‑friendly, and far less buggy.

As Lead Artist on This War of Mine I sat at the seam between art and engineering, keeping the two sides in sync as both the team and the codebase grew. Day‑to‑day that meant championing the animation system and its features, guarding the naming conventions that kept assets discoverable across the project, and proposing novel solutions whenever a feature hit a wall.

It was also a deeply hands‑on role: mockups, concept art, long stretches of animating, and a steady stream of exporting and re‑exporting assets as the pipeline evolved. Plus the unglamorous but essential connective tissue, organising people, work, and assets so nothing slipped through the cracks.

I was responsible for UI animation effects, smoke, and weather effects on Frostpunk. The tricky part was that all of it had to look good under dramatically different lighting conditions, day cycling into night, blizzards rolling in, fog thickening and clearing, without breaking the cold, low‑contrast palette the game lives in.

Making that work consistently took a lot of out‑of‑the‑box thinking, pushing effects hard enough to read in extreme conditions without overpowering them in calmer ones, and iterating tightly against the lighting passes as each scene's mood shifted.

A very fun side project done while working at 11 bit studios, one of the first games I coded up in Unity. All the art is mine, plus a portion of the code.

It's not available for download at the moment, but hopefully it'll be brought back in some form.