Client
Client
blizzard
blizzard
Year
Year
2024
2024
Agency
Agency
The many
Diablo iv SlayPals
Diablo iv SlayPals
Diablo iv SlayPals
Diablo iv SlayPals
To promote the Diablo IV: Vessel of Hatred expansion, Blizzard introduced four new mercenary characters and challenged us to make their arrival impossible to ignore. The campaign reimagined these mercenaries as “SlayPals,” twisted collectible dolls inspired by nostalgic 80s and 90s children’s toys. A parody commercial, original jingle, social content, and merch brought the concept to life by colliding toy-aisle innocence with Diablo’s dark, demonic world.
On the agency side, I worked closely with the art director and design director to create graphics and motion assets across the hero video and supporting campaign materials. My focus was on helping define a visual language that balanced playful nostalgia with just enough blood and menace to feel unmistakably Diablo.
To promote the Diablo IV: Vessel of Hatred expansion, Blizzard introduced four new mercenary characters and challenged us to make their arrival impossible to ignore. The campaign reimagined these mercenaries as “SlayPals,” twisted collectible dolls inspired by nostalgic 80s and 90s children’s toys. A parody commercial, original jingle, social content, and merch brought the concept to life by colliding toy-aisle innocence with Diablo’s dark, demonic world.
On the agency side, I worked closely with the art director and design director to create graphics and motion assets across the hero video and supporting campaign materials. My focus was on helping define a visual language that balanced playful nostalgia with just enough blood and menace to feel unmistakably Diablo.
To promote the Diablo IV: Vessel of Hatred expansion, Blizzard introduced four new mercenary characters and challenged us to make their arrival impossible to ignore. The campaign reimagined these mercenaries as “SlayPals,” twisted collectible dolls inspired by nostalgic 80s and 90s children’s toys. A parody commercial, original jingle, social content, and merch brought the concept to life by colliding toy-aisle innocence with Diablo’s dark, demonic world.
On the agency side, I worked closely with the art director and design director to create graphics and motion assets across the hero video and supporting campaign materials. My focus was on helping define a visual language that balanced playful nostalgia with just enough blood and menace to feel unmistakably Diablo.
To promote the Diablo IV: Vessel of Hatred expansion, Blizzard introduced four new mercenary characters and challenged us to make their arrival impossible to ignore. The campaign reimagined these mercenaries as “SlayPals,” twisted collectible dolls inspired by nostalgic 80s and 90s children’s toys. A parody commercial, original jingle, social content, and merch brought the concept to life by colliding toy-aisle innocence with Diablo’s dark, demonic world.
On the agency side, I worked closely with the art director and design director to create graphics and motion assets across the hero video and supporting campaign materials. My focus was on helping define a visual language that balanced playful nostalgia with just enough blood and menace to feel unmistakably Diablo.
Slaypals
Slaypals
Slaypals
Slaypals
Logo Design
Logo Design
Logo Design
Designed a custom work mark
for the "SlayPals" dolls
Designed a custom work mark
for the "SlayPals" dolls
Designed a custom work mark
for the "SlayPals" dolls
Designed a custom work mark
for the "SlayPals" dolls
One of my primary contributions was designing the SlayPals logo, which became a core visual identifier for the campaign. The biggest challenge was reconciling two opposing aesthetics: retro toy branding that feels friendly and collectible, and Diablo’s universe of demons, gore, and chaos.
The logo design process started with sketches exploring exaggerated, toy-inspired letterforms while keeping blood motifs front and center. The final mark uses soft, rounded shapes to echo classic children’s toy logos, contrasted with dripping blood to anchor it firmly in Diablo’s world. I delivered both horizontal and vertical logo variations for use across video, social, and merchandise.
One of my primary contributions was designing the SlayPals logo, which became a core visual identifier for the campaign. The biggest challenge was reconciling two opposing aesthetics: retro toy branding that feels friendly and collectible, and Diablo’s universe of demons, gore, and chaos.
The logo design process started with sketches exploring exaggerated, toy-inspired letterforms while keeping blood motifs front and center. The final mark uses soft, rounded shapes to echo classic children’s toy logos, contrasted with dripping blood to anchor it firmly in Diablo’s world. I delivered both horizontal and vertical logo variations for use across video, social, and merchandise.
One of my primary contributions was designing the SlayPals logo, which became a core visual identifier for the campaign. The biggest challenge was reconciling two opposing aesthetics: retro toy branding that feels friendly and collectible, and Diablo’s universe of demons, gore, and chaos.
The logo design process started with sketches exploring exaggerated, toy-inspired letterforms while keeping blood motifs front and center. The final mark uses soft, rounded shapes to echo classic children’s toy logos, contrasted with dripping blood to anchor it firmly in Diablo’s world. I delivered both horizontal and vertical logo variations for use across video, social, and merchandise.
One of my primary contributions was designing the SlayPals logo, which became a core visual identifier for the campaign. The biggest challenge was reconciling two opposing aesthetics: retro toy branding that feels friendly and collectible, and Diablo’s universe of demons, gore, and chaos.
The logo design process started with sketches exploring exaggerated, toy-inspired letterforms while keeping blood motifs front and center. The final mark uses soft, rounded shapes to echo classic children’s toy logos, contrasted with dripping blood to anchor it firmly in Diablo’s world. I delivered both horizontal and vertical logo variations for use across video, social, and merchandise.
A custom “registered mark” detail designed to resemble a standard ® symbol, but actually rendered as a satanic demon star as a hidden, tongue-in-cheek Easter egg
A custom “registered mark” detail designed to resemble a standard ® symbol, but actually rendered as a satanic demon star as a hidden, tongue-in-cheek Easter egg
A custom “registered mark” detail designed to resemble a standard ® symbol, but actually rendered as a satanic demon star as a hidden, tongue-in-cheek Easter egg
A custom “registered mark” detail designed to resemble a standard ® symbol, but actually rendered as a satanic demon star as a hidden, tongue-in-cheek Easter egg
For the hero commercial, I designed the end card, staying true to the structure and pacing of vintage toy ads.
For the hero commercial, I designed the end card, staying true to the structure and pacing of vintage toy ads.
For the hero commercial, I designed the end card, staying true to the structure and pacing of vintage toy ads.
For the hero commercial, I designed the end card, staying true to the structure and pacing of vintage toy ads.
Hero
Hero
Hero
Hero
Endcard
Endcard
Endcard
Endcard
Gameplay
Gameplay
Gameplay
Gameplay
Sing-a-long
Sing-a-long
Sing-a-long
That same playful energy carried into the SlayPals sing-along video, where I created motion typography for the on-screen lyrics, animating them in time with the campaign jingle over Diablo IV gameplay.
That same playful energy carried into the SlayPals sing-along video, where I created motion typography for the on-screen lyrics, animating them in time with the campaign jingle over Diablo IV gameplay.
That same playful energy carried into the SlayPals sing-along video, where I created motion typography for the on-screen lyrics, animating them in time with the campaign jingle over Diablo IV gameplay.
That same playful energy carried into the SlayPals sing-along video, where I created motion typography for the on-screen lyrics, animating them in time with the campaign jingle over Diablo IV gameplay.
To build anticipation ahead of launch, I created a social teaser video set inside a dark hallway, where a retro TV plays distorted clips from the SlayPals commercial. I handled the video edit, sound design, and visual distortion to create an unsettling contrast and build tension leading up to the hero spot.
To build anticipation ahead of launch, I created a social teaser video set inside a dark hallway, where a retro TV plays distorted clips from the SlayPals commercial. I handled the video edit, sound design, and visual distortion to create an unsettling contrast and build tension leading up to the hero spot.
To build anticipation ahead of launch, I created a social teaser video set inside a dark hallway, where a retro TV plays distorted clips from the SlayPals commercial. I handled the video edit, sound design, and visual distortion to create an unsettling contrast and build tension leading up to the hero spot.
To build anticipation ahead of launch, I created a social teaser video set inside a dark hallway, where a retro TV plays distorted clips from the SlayPals commercial. I handled the video edit, sound design, and visual distortion to create an unsettling contrast and build tension leading up to the hero spot.
Social
Social
Social
Social
Teaser
Teaser
Teaser
Teaser
Photo
Photo
Photo
Photo
Editing
Editing
Editing
Rounding out the campaign, I retouched the four main SlayPals doll images, cleaning up textures and ensuring visual consistency so they felt polished, cohesive, and appropriately unhinged for campaign and merchandise use.
Rounding out the campaign, I retouched the four main SlayPals doll images, cleaning up textures and ensuring visual consistency so they felt polished, cohesive, and appropriately unhinged for campaign and merchandise use.
Rounding out the campaign, I retouched the four main SlayPals doll images, cleaning up textures and ensuring visual consistency so they felt polished, cohesive, and appropriately unhinged for campaign and merchandise use.
Rounding out the campaign, I retouched the four main SlayPals doll images, cleaning up textures and ensuring visual consistency so they felt polished, cohesive, and appropriately unhinged for campaign and merchandise use.
