The product
The customers
My role
My nearly eight years at Ubisoft Bucharest were defined by continuous growth — from crafting individual UI elements as a junior artist to leading production on gameplay features for some of the most high-profile games in the industry. Each role was a deliberate step: more ownership, more complexity, more people to align. The thread running through all of it was the same instinct that now drives my product management work: understand what the product needs to be, translate that clearly to the people building it, and remove every obstacle in their way.
UI Artist — Ghost Recon Wildlands
Designed and implemented menus and HUD elements for this open-world tactical shooter. Post-launch, led UI delivery for Ghost War PVP mode — coordinating the team, managing task pipelines, and mentoring junior artists.
Lead UI Artist — Ghost Recon Breakpoint
Owned the full Ghost War PVP UI from concept to ship — coordinating design, programming, and QA stakeholders, and overseeing implementation across all features. Managed a multinational UI team across multiple studios, introduced structured retroplanning processes, ran hiring for UI Art positions across the Eastern European hub, and drove team wellbeing and motivation alongside delivery.
Associate Producer — Ghost Recon Frontline
First full production role. Led gameplay feature development for this AAA multiplayer title — owning the roadmap, milestone planning, and day-to-day alignment across design, engineering, and art disciplines.
Associate Producer — Star Wars Outlaws™
Drove the development of key game components for Ubisoft's first open-world Star Wars game, in close collaboration with Disney and Lucasfilm Games. Coordinated cross-studio teams and managed high-profile stakeholder relationships.
The producer role is fundamentally about delivery — but delivery that is measurable, repeatable, and improving. Across Ghost Recon Frontline and Star Wars Outlaws, here is what I can point to.
Cross-discipline team coordinated
Ghost Recon Frontline — delivered under uncertainty
Star Wars Outlaws — full ownership of a major game mode
Production efficiency — introduced across both titles
Production on a AAA title is a constant negotiation between ambition and reality. These are two of the decisions that shaped how I worked.
Vertical slice-first feature delivery
Introduced across both titles — feature scoping & delivery sequencing
Game designers naturally think in complete, final-game features — fully realised, fully connected, at full scale. The production challenge is that building everything at once creates invisible dependencies, late integration risk, and a team that never sees anything working end-to-end until it's almost too late to fix it.
My approach
Structured playtest feedback prioritisation
Regular NDA sessions with real players — turning feedback into action
Playtests generate opinions fast — and without a clear process, that feedback either gets ignored or creates chaos. The goal was to make player insight a genuine input into production decisions, not a box-ticking exercise.
My approach
Star Wars Outlaws was developed by Massive Entertainment in collaboration with Lucasfilm Games — which meant that every creative and production decision existed within a larger approval framework. Disney and Lucasfilm held brand and story authority over the entire project: every UI element, every piece of in-game text, every visual design choice had to align with the established Star Wars canon and aesthetic identity before it could be shipped.
↳ Client Management in a High-Stakes Context
Working within this structure was, in many ways, a client-facing product management challenge at scale. It required translating internal production realities into clear communication for external stakeholders, building trust with a rights-holder who had both high expectations and deep IP investment, and ensuring that the development team's creative work was always framed and presented in a way that respected the Star Wars universe. Getting sign-off from Lucasfilm was not a formality — it was a critical gate that required preparation, relationship-building, and the ability to advocate for decisions while remaining genuinely open to feedback. This is the kind of stakeholder environment that sharpens a PM's instincts quickly.
The move from UI artist to producer wasn't just a change of title — it was a shift in how I thought about problems. As a designer, my job was to make things look and feel right for the player. As a producer, my job was to make the system that builds those things work reliably: the schedules, the dependencies, the conversations between disciplines that never happen unless someone makes them happen.
The UX background was an asset I didn't expect to lean on so heavily in production. Understanding how players experience a feature — what they notice, what they ignore, what breaks their immersion — gave me a different quality bar to argue from. When I pushed back on a scope cut or defended a design decision to a stakeholder, I could ground it in user impact, not just production preference. That same instinct is central to how I work as a Product Manager today.
Ubisoft Bucharest was a genuinely multinational environment — with teams distributed across studios in France, Canada, Sweden, and Romania collaborating on the same title. Managing effectively in that context meant being precise in writing, deliberate in meeting structures, and consistently transparent about decisions and their rationale.
I was also a hiring manager for UI Art roles across the Eastern European hub — running interviews, designing and assessing ability tests, and making recommendations for roles across multiple studios. Recruiting well is a product decision: the team you build determines what you can ship, and at what quality.