I began by developing a visual language for the campaign: a balance of raw nature and high-tech decay. Giant reptilian forms loom through fog, vegetation curls around broken satellites, and motion sensors pulse in predator zones. These themes informed both the color grading and design logic - earthy reds, military greens, scorched yellows, and deep blacks.

Dinosaurs were illustrated not as retro novelties, but as biomechanical forces of nature - with exaggerated scale, rich skin textures, and cinematic lighting that made them feel larger-than-life. The artwork didn't just showcase action; it created anticipation, dread, and fascination in equal measure.

I used After Effects and Element 3D to composite multiple depth layers across jungle terrain, weather FX, and creature passes. Parallax scrolling added realism to flyovers and pursuit scenes. Dinosaurs were animated using a mix of rigged puppeting and frame-by-frame detailing to emphasize weight and unpredictability. Audio-reactive motion (like pulsing vibrations tied to low-end rumbles) helped push intensity across trailer frames.

All movements were tuned to feel heavy, feral, and grounded - creating a visual rhythm that matched the primal tone of the campaign. Final renders included animated loop banners, a 30-second cinematic reveal, and hero graphics for console storefronts.

The launch trailer exceeded 3.8 million views in its first two weeks. Engagement on promotional content was up 46% compared to the publisher’s last release. But more importantly, the visuals helped define the game’s tone before a single line of gameplay dialogue was heard. Viewers connected with the world through color, tension, and movement. For me, the win was in seeing the design stand on its own - not just as decoration, but as worldbuilding in motion.

‍Return of the wild was a chance to combine technical animation skill with creature design, atmosphere, and emotional pacing - and it reminded me why visual storytelling is so powerful when it's layered with danger and discovery.