Diablo

Project Overview

Diablo IV is one of the most highly anticipated game releases of the decade, following a ten-year gap since the last installment. The campaign, titled “The Monsters Are Waiting,” played on the idea that Diablo’s iconic creatures have been left bored and restless during the long wait — eagerly anticipating new players to return and unleash chaos.

As lead art director, I pitched the big idea and collaborated with an incredible team — John, Evans, Sarah, Yula, April, and Folabomi — to bring it to life through a wide range of innovative executions across digital, experiential, and interactive platforms.

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The Problem / Gaps Identified

1. Overcrowded game advertising – Many gaming campaigns rely on predictable action-heavy trailers and CGI without strong conceptual storytelling.
2. Disconnect with loyal fanbase – After ten years, Diablo’s existing community expected more than just visuals; they wanted a narrative that acknowledged their long wait.
3. Limited audience engagement – Standard ads didn’t invite players into the experience before launch.
4. Missed opportunities for innovation – Few campaigns had extended beyond traditional ads to integrate immersive and playful touchpoints.

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Goals

• Reignite excitement for Diablo IV by acknowledging the long wait.

• Deliver a concept that bridges nostalgia for loyal fans with intrigue for new gamers.

• Differentiate from standard game trailers by weaving story-driven creativity into multiple platforms.

• Engage audiences in a way that feels immersive, playful, and participatory.

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Process & Work Steps

1. Research & Insights

• Analyzed the legacy of Diablo and its loyal fan community.

• Identified the emotional gap: fans had been waiting for over a decade with limited brand storytelling.

• Explored immersive channels beyond gaming ads — AR, OOH, audio, and interactive tools.

2. Concept Development

• Pitched the big idea: “The Monsters Are Waiting” — reframing Diablo’s villains as restless characters waiting for gamers to return.

• Crafted the narrative tone: playful menace, tension, and dark humor.

• Aligned the creative direction with Blizzard’s brand identity and Diablo’s iconic gothic style.

3. Creative Execution

• Led art direction to ensure consistency across all deliverables.

• Collaborated with the team to ideate and prototype interactive experiences.

• Designed immersive campaign materials, from AR activations to billboard storytelling.

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Solutions Delivered

• Immersive AR Game → Players could interact with Diablo’s monsters in real-world environments before launch.

• Dynamic Tunnel Billboards → Monsters “lurking” and waiting as commuters passed through.

• Podcast Ads → Monsters breaking into popular shows with in-character taunts.

• Google Temperature App Plugins → Local weather tools “haunted” by Diablo’s creatures.

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Outcome

The campaign generated massive buzz by reframing the decade-long wait as a creative storytelling advantage. By turning anticipation into a playful narrative, “The Monsters Are Waiting” stood out from traditional game ads and earned recognition at the American Advertising Awards with a Gold Medal (2024, AAF Atlanta).

The result: Diablo IV was reintroduced not just as another game launch, but as a cultural event that rewarded longtime fans and drew in new audiences with bold, innovative storytelling.

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