My name is Wojciech Mosiejczuk.
I'm a game designer and this is my


All original video game content in this portfolio was captured using publicly available builds.
All screenshots of tools are illustratory and come from my personal projects.
Avatar: Frontiers of Pandora

Avatar: Frontiers of Pandora is a first-person, action-adventure game set in a lush and rich open world of Pandora.
I joined the Player and Tools team as a 3C designer two years before the game's release, and stayed on the project during post-launch to work on two story packs: The Sky Breaker and Secrets of the Spires.

Character, Controls and Camera As a game designer on the Player and Tools team I worked on a variety of 3C topics ranging from input to interactions. My responsibilities included researching hardware specs, writing and aligning designs, reviewing implementations, and configuring features using a variety of editor tools. During Post-Launch, our team also took responsibility for the mounted gameplay: riding the Direhorses and flying on the Banshee.
Feature Ownership Given the size of the Avatar: Frontiers of Pandora project, I had to re-evaluate my past approach to feature ownership and my role as a game designer within the development team. While I still have much to learn, I grew to appreciate every team member's experience and their unique perspectives. The gameplay tool called SID was one of the features I worked on as a feature owner. In order to bring it to life, I collaborated with dozens of other developers, from coders to artists, level designers or QC.
Haptics Immersion in the open world and tactility of the experience were some of the core pillars of Avatar: Frontiers of Pandora. As feature owner of haptics I had the opportunity of shaping the haptic tech used on the project, as well as creating and implementing most of the content, including over 400 audio-based effects for the DualSense controller. Our efforts seem to have been well-received by both critics and players.
Snowdrop Working on Avatar: Frontiers of Pandora meant getting familiar with Snowdrop, the engine used to create the Tom Clancy's The Division series and Star Wars Outlaws. I leveraged my broad technical skills and past experience with the Unreal Engine to become proficient with this new gameplay framework and tech pipeline.

Outriders is a fast-paced 1-3 player, drop-in-drop-out co-op shooter set in a sci-fi universe. The game had a simultaneous release on seven platforms with a generous demo available a few weeks prior. I was part of a team that handled the design and implementation of gameplay systems and various forms of player abilities.

System design (+maintenance) My main responsibility while working on Outriders was handling of the in-game achievements system called Accolades. I inherited the system in a first playable state and iterated on it until release by streamlining the design, implementing new functionalities and bugfixing. On top of that, I was responsible for auxiliary systems like third party achievements and in-game cosmetic rewards.
Gameplay Ability System Much of my work on Outriders involved the Gameplay Ability System. My experience of designing and implementing several of the game's item mods proved to be useful while setting up Accolades or working on various feel aspects of the game, including force feedback and camera shake effects. On top of that, given my cinematic background, I was asked to create video tutorials for all 32 of player skills.
Input sensitivity and response To help tune the game feel, I volunteered to work on gamepad controls. I configured input sensitivity, response algorithms and trigger behavior (registering the desire to fire a weapon). Given that Outriders asks players to be constantly aware of their surroundings and ready to shoot with high precision, a lot of thought went into this aspect of the game.
Design Tools I often take my chances when I see a possibility of automating a frequent task or speeding up a workflow. During my work on Outriders, I created a number of tools that helped my department, including debug systems, input monitors, conversion and reimport scripts and data analyzers. While I am not a programmer, I can usually get the job done using Unreal Engine's Blueprints, basic C#, JavaScript or Python.
Unreal Engine

While working on an unannounced project at CreativeForge Games, I was tasked with Blueprint implementation of some of the core gameplay mechanics and creation of NPC AI. By using features like interfaces, event dispatchers and behavior trees we were able to achieve desired performance and keep the system open to easy iteration during development. This experience paid off during my work on Outriders, a much bigger and complicated project that had strict optimization goals.

Blueprint best practices Comments, clear flow structure and reroute nodes are key to maintaining blueprint readability. Knowing that the main reason blueprints are eventually nativized into C++ code is not speed, but design complexity and workflow problems, I always try to make my blueprints simple and self-explanatory.
Thinking about performance According to Epic's Sjoerd De Jong, blueprints have no significant performance overhead if used correctly. This includes using custom functions and designing event-based functionality, avoiding casting or nested loops and careful blueprint cross-referencing.
Artificial Intelligence As part of the design team on the project at CreativeForge Games, I was in charge of implementing NPC AI using Behavior Trees. Thanks to our scripting standards, even with multiple blueprint-based tasks, services and decorators and several dozens AI actors per level, we were able to achieve performance targets.
Code reading and navigation During my 4 years of work in Unreal Engine I picked up a number of skills related to code reading and navigation. This allows me to be more self-sufficient in figuring out the specifics of implementation of existing features. As a result, I am often able to prototype simple fixes and iterate on them before sending the design for implementation by the coding team.
Phantom Doctrine

Phantom Doctrine is a strategic turn-based espionage thriller set at the peak of the Cold War. I performed a variety of game and level design tasks ranging from writing documentation to capturing promotional screenshots and trailer footage. On top of that, my film-related experience proved to be useful for preparing treatments, screenplays and shot lists for almost 25 minutes of cinematics and in-engine cutscenes.

Content design Many of my responsibilities were related to the Phantom Doctrine's content, like creating and supervising character visualization presets or designing items for game's armors and weapon upgrades systems. This required a lot of historical research and management of asset request lists with hundreds of reference photos.
Marketing assets I had the pleasure to capture the gameplay footage that was used in the production of game's trailers. For each trailer I was given a specific list of features that needed to be showcased, some of them requiring me to manually modify save files, interface or camera, or even rearrange levels to get a particular shot.
Call center - Level gameplay Recording of an experienced player's gameplay on one of the levels I designed for Phantom Doctrine. The level features an old factory turned into a clandestine call center managed by a global conspiracy. I used my personal experience of urban exploration to enrich the game's level design vocabulary with skywalks and industrial skylights.
Outro cinematic The main purpose of this cinematic I was asked to write was to incite players to start a new, extended playthrough that offers an in-depth look at Phantom Doctrine's illicit Beholder Initiative. Story by Paweł Kroenke, 2D art by Tomasz Ćwik, animation by Artur Huk.
Achievements and trophies Being an avid console gamer and trophy hunter myself, I volunteered to design game's trophies. After getting approval on desired trophy difficulty and completion time, I created a list that aims to enhance a typical playthrough and encourage players to try more obscure features.
Force Feedback effects Given my experience as a console gamer, designing and implementing controller vibrations was a very informative task. I learned that the trick to good, experience-enhancing Force Feedback effects is to not overdo it: if the player realizes that the controller is vibrating, the effect was most probably too strong or was active for too long.
The rest of the portfolio contains highlights from my film-related endeavours.
If this does not interest you, feel free to jump to the end.
Maanam być pięknie

47-minute long documentary about a legendary Polish rock band produced for Warner Music Poland, written and directed by me. The film is built around contemporary interviews with band members and radio journalists interlaced with rare clips from the band's archive. Since the lead vocalist has been fighting with cancer, all income from the film's distribution was redirected to a cancer patient support charity.

Opening sequence Presented here are the first 100 seconds from the film, setting the mood for other 45 minutes. The biggest challenge of making this film was creating a coherent narrative out of hours of interviews and often random archival footage.
Official premiere The film's premiere took place in Atlantic cinema in Warsaw, during an official event in the presence of band members. Later that year, the film was broadcast twice on a nationwide TV channel.
Music and lyric videos

While working at Rendeer I had the opportunity to direct and animate several music and lyric videos. I worked closely with my producer and artists to deliver appealing projects in circumstances that were always influenced by time and budget constraints.

Łąki łan - Pola Ar (music video) Inspired by band's New Age philosophy and deep, ambiguous lyrics, the video is a collage on the subject of an agricultural field being the source of all life. The video was showcased during the O!PLA festival of Polish animation and gathered almost 10 million views on YouTube.
Łąki Łan - LASS (lyric video) When asked to deliver a minimalist lyric video, we knew it needs a hook to become memorable. We decided to use stock footage to create a hypnotizing trip through forests with subtle hints at benefits of hugging trees. To increase immersion, the video was delivered in 4K and 60 fps, significantly above industry standards.
Doremisie - Kraina Doremisiów (music video) Our first attempt at creating a music video for children. It was received so well it was invited to a children TV channel to air between shows.
Doremisie - Kołysanka Doremisiów (music video) A follow-up to "Kraina Doremisiów", reusing many assets and character rigs, which ended up being delivered in a third of the time it took us to make the previous video.
TV and cinema ads

During almost 10 years that I worked at media postproduction companies I edited and/or animated over a 100 TV and cinema ads, mostly for music and film distributors. Some of them were based on international assets that only needed localization, but what was always required was attention to detail and technical knowledge necessary to follow cinema and TV specifications.

Queen of the Desert (film trailer) Werner Herzog's historical drama with Nicole Kidman. Since the trailer was edited based on an international version, our main focus here was animating the trailer's titles, preparing a subtitle track and creating a cinema-compliant DCP package.
The Greatest Showman Reimagined (cinema ad, 30") The rotating 3D box was animated using Video Copilot's Element 3D plugin for Adobe After Effects.
Ed Sheeran - Shape of You (TV Sponsoring, 8")
Złota kolekcja - Kolędy i pastorałki (TV Sponsoring, 8")

Thank you,

Don't forget to take a look at my CV and visit one of my profiles on mastodon, linkedin or imdb.
You can also drop me an e-mail at or give me a call: +46 760 96 96 40.