Carlos Villarreal Kwasek

Battlefield V (2018) I designed, documented and implemented a "Lego-block" system for all the buttons in the game. The system consisted of only a few elements (each element with assigned behavirous) from which a large number of buttons could be created. Since every button is dependent of the blocks that its made of, the developer has complete and immediate control over an infinite number of buttons by editing the very few blocking elements.

Battlefield V (2018) Minimaps. We wanted to create a modern style for the minimap textures following the updated look of the entire UI. The goal was to leave only the essential information for the player to navigate the world.

Battlefield V (2018) Deploy Screens. This screen contains extensive features which are connected to various systems in the UI. Many of us collaborated in this screen at one point or another and it was vital to maintain clean logics and communicate about changes.

Battlefield V (2018) Soldier HUD. I worked closely with HUD features like the Game Mode Widget, Inventory, Health, Minimap and Squad List. The HUD is a extensive system that required both Artists and Engineers to have an updated blueprint of all the information that could be displayed at any given point in the game.

R.A.M. (Real Action Multiplayer)

R.A.M. is a first person shooter for mobile developed by Wild Games, a start up that I co-founded. I was the Art Director for this project but since we were a small team I also wored painting concepts and modeling and texturing characters and environments. We wanted to keep the team small and costs low until the game would generate revenue.

R.A.M. (2024) Key Art created using Blender, Photoshop and bash of AI images for background elements.

R.A.M. (2024) I created the Hyena character from the anatomy up. First I created a basic skeleton with the proportions I wanted on which I drew all the muscles. I solved the movement mechanics by doing this anatomical work. Afterwards I could dress the character.

R.A.M. (2024) We are trying to keep costs low until we can prove that the game is financially profitable. For this reason the characters are developed by outsourcing teams, myself or collaborators. Most of these weapons were modified from free assets. Eventually I painted all the characters (below) in order to give them that aggressive and gritty look that we are going for.

Need for Speed

My work in Need for Speed Rivals involved creating visual targets for the UI Art Direction, wireframes, navigation mocks and final art for the game. Working on a new studio, GHOST EA, gave me the opportunity to be part of a growing team and contribute to the studio's identity.

Need for Speed Rivals (2013) As UI Artist I was responsible for prototyping and implementing Front End and HUD elements in the game.

Need for Speed Rivals (2013) One of my responsibilities was to shape the mood and look of the Cop's UI identity.

Need for Speed Rivals (2013) We were developing new technology in Frostbite while building the game. I created animated mocks for complex systems in order to communicate our vision to the tech team.

Need for Speed Rivals (2013) Iconography.

Need for Speed (2015) For NFS15 I painted a realistic map using aerial images from different cities and areas around the world.

Raid Valley

Raid Valley was our first project at Wild Games. It's a Clash of Clans and First Person Shooter cross over. I was responsible for the Art Direction and UI but since we were a small team I worked in all areas of art development.

Raid Valley (2022) Concept Exploration.

Syndicate

As Video Producer I was responsible for the Video Team. I was responsible for all video material in the game and for developing solutions for real time cut scene events which often featured a combination of UI and video.

Syndicate (2012) I was responsible for creating the DartScan in game solution which allowed us to display videos rigged to a 3D character in a UI framework.

Syndicate (2012) In order to align coders with the designer's vision I created fully animated mocks which later were developed as functional UI interfaces in-game.

Goldeneye 007

For  the remake of GoldenEye 007 I was responsible for delivering all pre-rendered cut scenes and managing collaborating artists. My work involved creating the visual style for the animations and designing a render workflow to generate the material.

Goldeneye 007 (2009) One of me tasks was to conceive and create the into titles for the game.

GoldenEye 007 (2009) Each chapter in the game featured a briefing video which was intended to mimic the interface of a James Bond style smart phone.

Andean Sky

Andean Sky is a Sci-Fi  interactive web-comic about Ecuador in the future. I had full control and ownership for this project and I had the pleasure to direct a collaborating sound designer who composed all the soundtracks. The story follows an immigrant who returns home to reconnect with his family and his culture. The comic is designed to be displayed on web-browsers and smart phones / tablets.

Andean Sky (2016) Religious identity continues to be an important aspect of the futuristic Ecuadorian culture. Religion, like all aspects of culture, evolves and changes through the years.

Andean Sky (2016) The comic is a multimedia experience which features animation and sound. I designed it to be a simple and emerging User Experience. The user controls the speed of the animation by scrolling up and down while listening to an ambient score.