Community Building & Event Design: The Life of Gamers Club
Community Building & Event Design: The Life of Gamers Club
A systemic design initiative transforming a shared passion for gaming into a productive university ecosystem. As Founder, I engineered the club’s operational framework-merging strategic communication, scalable branding, and immersive technological applications like projection mapping to drive community impact.
A systemic design initiative transforming a shared passion for gaming into a productive university ecosystem. As Founder, I engineered the club’s operational framework-merging strategic communication, scalable branding, and immersive technological applications like projection mapping to drive community impact.
CONTEXT
University Ecosystem & Cultural Development
MEDIUM
Brand Identity Event Management Projection Mapping Team Leadership
Year
2021 - 2024
Role
Founder, President & Lead Strategic Designer
Building a Cultural Context from Scratch:
The challenge was not merely starting a student club, but establishing a sustainable cultural and productive
ecosystem within the university.
"Life of Gamers" (LOG) was founded to transform a fragmented interest in video games into a structured,
educational, and socially engaging community.
The goal was to design an organizational system capable of executing large-scale events and transferring technical skills.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga. This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core of my current motion design and spatial interventions.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga.
This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core
of my current motion design and spatial interventions.
Systemic Design
&
Organizational Strategy
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga. This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core of my current motion design and spatial interventions.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga.
This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core
of my current motion design and spatial interventions.
Designing
the Operational
Framework:
I approached the club's formation as a systemic design project. I engineered the organizational architecture by establishing specialized departments (Marketing, Design, Logistics, and Sponsoring) and implementing agile project management workflows using tools like Xmind and Discord.
Visually, I developed a comprehensive and scalable brand identity-from the core logo to operational assets like official badges, team uniforms, and customized "LOG Ranks" pins-ensuring a highly professional and cohesive community culture.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga. This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core of my current motion design and spatial interventions.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga.
This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core
of my current motion design and spatial interventions.
Technological Application & Experiential Events
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga. This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core of my current motion design and spatial interventions.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga.
This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core
of my current motion design and spatial interventions.
Merging Technology with Physical Spaces:
To deliver immersive experiences, I led the integration of digital technologies into physical environments.
A prime example was our contribution to the Annual International Design Meetings (RAID 2022),
where I utilized Resolume Arena to execute complex Projection Mapping onto the university's water tower.
Furthermore, I oversaw the logistics and digital broadcasting for large-scale events, including the "Rise
of Gamers" 1v1 Tournaments and interactive digital art workshops, seamlessly blending motion design, UI,
and live event production.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga. This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core of my current motion design and spatial interventions.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga.
This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core
of my current motion design and spatial interventions.
Sustainable Growth
& Productive Partnerships:
Community Growth: Successfully recruited, trained, and managed an expanding network of over 40+ active members, fostering a legacy of creative leadership.
Commercial Partnerships: Leveraged our strategic brand positioning to secure and manage real-world sponsorships with corporate partners like Skymil Informatique and Sweet Calf, ensuring the club's financial productivity.
Skill Transfer: Facilitated specialized technical workshops (e.g., 3D Modeling with Cinema 4D, Digital Illustration) to empower members, directly contributing
to their professional readiness.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga. This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core of my current motion design and spatial interventions.
The Origin of Visual Storytelling
(Manga Jees) 2016:
Long before working with digital keyframes, my foundation in motion and narrative was built with ink and paper. At age 16, I began developing my own manga.
This wasn't just sketching; it was my earliest training in visual pacing, character development, and directing the viewer's eye-skills that remain at the core
of my current motion design and spatial interventions.