The Elder Scrolls Online, an award winning MMORPG
My Role
UX Design Lead
Product Type
Videogame
The Elder Scrolls Online (ESO) is an award-winning massively multiplayer role-playing game with over 26 million players. Following its PC launch, I led UX/UI for its PlayStation and Xbox release, redesigning it for playing from the couch. Making that transition work required more than adapting screens for a television.
Affectionately dubbed an MMORPG for introverts, The Elder Scrolls Online was the first multiplayer title in a lineage that had been strictly single-player for two decades.
Product History
The Elder Scrolls Online, an award winning MMORPG
My Role
UX Design Lead
Product Type
Videogame
The Elder Scrolls Online (ESO) is an award-winning massively multiplayer role-playing game with over 26 million players. Following its PC launch, I led UX/UI for its PlayStation and Xbox release, redesigning it for playing from the couch. Making that transition work required more than adapting screens for a television.
Affectionately dubbed an MMORPG for introverts, The Elder Scrolls Online was the first multiplayer title in a lineage that had been strictly single-player for two decades.
Product History
The Elder Scrolls Online, an award winning MMORPG
My Role
UX Design Lead
Product Type
Videogame
The Elder Scrolls Online (ESO) is an award-winning massively multiplayer role-playing game with over 26 million players. Following its PC launch, I led UX/UI for its PlayStation and Xbox release, redesigning it for playing from the couch. Making that transition work required more than adapting screens for a television.
Affectionately dubbed an MMORPG for introverts, The Elder Scrolls Online was the first multiplayer title in a lineage that had been strictly single-player for two decades.
Product History
The Elder Scrolls Online, an award winning MMORPG
My Role
UX Design Lead
Product Type
Videogame
The Elder Scrolls Online (ESO) is an award-winning massively multiplayer role-playing game with over 26 million players. Following its PC launch, I led UX/UI for its PlayStation and Xbox release, redesigning it for playing from the couch. Making that transition work required more than adapting screens for a television.
Affectionately dubbed an MMORPG for introverts, The Elder Scrolls Online was the first multiplayer title in a lineage that had been strictly single-player for two decades.
Product History
PRODUCTION
The cost of changing course
PRODUCTION
The cost of changing course
PRODUCTION
The cost of changing course
PRODUCTION
The cost of changing course
Before I joined ZeniMax, an external partner had spent three months adapting ESO’s PC interface for consoles. My evaluation revealed disconnected screens and cumbersome inventory navigation. Observing PC gameplay showed how often players visited the inventory screen, making that friction especially consequential.
With the PlayStation and Xbox launch deadline fixed, we faced a choice: continue the flawed port or start over with less time. I worked with an engineer from the partner team to prototype a better approach based on a consistent interaction model.
Before I joined ZeniMax, an external partner had spent three months adapting ESO’s PC interface for consoles. My evaluation revealed disconnected screens and cumbersome inventory navigation. Observing PC gameplay showed how often players visited the inventory screen, making that friction especially consequential.
With the PlayStation and Xbox launch deadline fixed, we faced a choice: continue the flawed port or start over with less time. I worked with an engineer from the partner team to prototype a better approach based on a consistent interaction model.
Before I joined ZeniMax, an external partner had spent three months adapting ESO’s PC interface for consoles. My evaluation revealed disconnected screens and cumbersome inventory navigation. Observing PC gameplay showed how often players visited the inventory screen, making that friction especially consequential.
With the PlayStation and Xbox launch deadline fixed, we faced a choice: continue the flawed port or start over with less time. I worked with an engineer from the partner team to prototype a better approach based on a consistent interaction model.
Before I joined ZeniMax, an external partner had spent three months adapting ESO’s PC interface for consoles. My evaluation revealed disconnected screens and cumbersome inventory navigation. Observing PC gameplay showed how often players visited the inventory screen, making that friction especially consequential.
With the PlayStation and Xbox launch deadline fixed, we faced a choice: continue the flawed port or start over with less time. I worked with an engineer from the partner team to prototype a better approach based on a consistent interaction model.
The initial port interrupted inventory browsing with overlapping item details and scattered equipment controls. The redesign organizes browsing, item inspection, and comparison into predictable panels, preserving context during navigation.
ESO Console Inventory · Initial Port vs. Redesign
Kickoff
My stake In the ground
Kickoff
My stake In the ground
Kickoff
My stake In the ground
Kickoff
My stake In the ground
A working prototype wasn't enough. The studio needed confidence that an entirely new approach could be delivered within the existing schedule. I audited the PC interface and mapped hundreds of features into a comprehensive matrix. This made the scope and opportunities for reuse visible, helped secure studio buy-in, and gave the team a practical framework for planning the redesign.
A working prototype wasn't enough. The studio needed confidence that an entirely new approach could be delivered within the existing schedule. I audited the PC interface and mapped hundreds of features into a comprehensive matrix. This made the scope and opportunities for reuse visible, helped secure studio buy-in, and gave the team a practical framework for planning the redesign.
A working prototype wasn't enough. The studio needed confidence that an entirely new approach could be delivered within the existing schedule. I audited the PC interface and mapped hundreds of features into a comprehensive matrix. This made the scope and opportunities for reuse visible, helped secure studio buy-in, and gave the team a practical framework for planning the redesign.
A working prototype wasn't enough. The studio needed confidence that an entirely new approach could be delivered within the existing schedule. I audited the PC interface and mapped hundreds of features into a comprehensive matrix. This made the scope and opportunities for reuse visible, helped secure studio buy-in, and gave the team a practical framework for planning the redesign.
A comprehensive audit of the PC game’s entire UI surface area. By organizing features into a matrix, I visualized the project's scope to de-risk my new console UX proposal and secure studio buy-in.
UX Audit Gary Boodhoo
A comprehensive audit of the PC game’s entire UI surface area. By organizing features into a matrix, I visualized the project's scope to de-risk my new console UX proposal and secure studio buy-in.
UX Audit Gary Boodhoo
A comprehensive audit of the PC game’s entire UI surface area. By organizing features into a matrix, I visualized the project's scope to de-risk my new console UX proposal and secure studio buy-in.
UX Audit Gary Boodhoo
A comprehensive audit of the PC game’s entire UI surface area. By organizing features into a matrix, I visualized the project's scope to de-risk my new console UX proposal and secure studio buy-in.
UX Audit Gary Boodhoo
Design
Comfort first
Design
Comfort first
Design
Comfort first
Design
Comfort first
Three questions guided the work: Where am I playing? Where am I looking? What are my hands doing? The answers shaped typography, information hierarchy, and visual density. Complex systems like inventory and crafting needed to remain legible and manageable from the couch, without players ever leaning forward.
Three questions guided the work: Where am I playing? Where am I looking? What are my hands doing? The answers shaped typography, information hierarchy, and visual density. Complex systems like inventory and crafting needed to remain legible and manageable from the couch, without players ever leaning forward.
Three questions guided the work: Where am I playing? Where am I looking? What are my hands doing? The answers shaped typography, information hierarchy, and visual density. Complex systems like inventory and crafting needed to remain legible and manageable from the couch, without players ever leaning forward.
Three questions guided the work: Where am I playing? Where am I looking? What are my hands doing? The answers shaped typography, information hierarchy, and visual density. Complex systems like inventory and crafting needed to remain legible and manageable from the couch, without players ever leaning forward.
In a sunlit living room, the game interface moves fluidly between high-intensity combat, inventory management, and shopping without ever breaking a sweat.
Gameplay Video PlayStation4
In a sunlit living room, the game interface moves fluidly between high-intensity combat, inventory management, and shopping without ever breaking a sweat.
Gameplay Video PlayStation4
In a sunlit living room, the game interface moves fluidly between high-intensity combat, inventory management, and shopping without ever breaking a sweat.
Gameplay Video PlayStation4
In a sunlit living room, the game interface moves fluidly between high-intensity combat, inventory management, and shopping without ever breaking a sweat.
Gameplay Video PlayStation4
Navigation
From clicks to thumbs
Navigation
From clicks to thumbs
Navigation
From clicks to thumbs
Navigation
From clicks to thumbs
With a mouse, players can click anywhere. With a controller, they must take a journey. Rather than translating mouse interactions into button presses, I anchored the active selection in a predictable location while content moved through it. Players could navigate complex systems without constantly searching across the screen.
With a mouse, players can click anywhere. With a controller, they must take a journey. Rather than translating mouse interactions into button presses, I anchored the active selection in a predictable location while content moved through it. Players could navigate complex systems without constantly searching across the screen.
With a mouse, players can click anywhere. With a controller, they must take a journey. Rather than translating mouse interactions into button presses, I anchored the active selection in a predictable location while content moved through it. Players could navigate complex systems without constantly searching across the screen.
With a mouse, players can click anywhere. With a controller, they must take a journey. Rather than translating mouse interactions into button presses, I anchored the active selection in a predictable location while content moved through it. Players could navigate complex systems without constantly searching across the screen.
In the PC game version, focus could jump anywhere across small targets and dense iconography, leading me to redesign the entire experience for console-native play.
In-game capture (ESO-PC)
In the PC game version, focus could jump anywhere across small targets and dense iconography, leading me to redesign the entire experience for console-native play.
In-game capture (ESO-PC)
In the PC game version, focus could jump anywhere across small targets and dense iconography, leading me to redesign the entire experience for console-native play.
In-game capture (ESO-PC)
In the PC game version, focus could jump anywhere across small targets and dense iconography, leading me to redesign the entire experience for console-native play.
In-game capture (ESO-PC)
A game controller is bad at random access navigation, so I redesigned the UX for predictable focus paths, larger targets, and lists you could scroll through easily
Studio presentation Gary Boodhoo
A game controller is bad at random access navigation, so I redesigned the UX for predictable focus paths, larger targets, and lists you could scroll through easily
Studio presentation Gary Boodhoo
A game controller is bad at random access navigation, so I redesigned the UX for predictable focus paths, larger targets, and lists you could scroll through easily
Studio presentation Gary Boodhoo
A game controller is bad at random access navigation, so I redesigned the UX for predictable focus paths, larger targets, and lists you could scroll through easily
Studio presentation Gary Boodhoo
Left/Right
The horizontal journey
Left/Right
The horizontal journey
Left/Right
The horizontal journey
Left/Right
The horizontal journey
Horizontal navigation became the backbone of the interface. The controller's left and right triggers shifted entire stacks of content sideways, revealing new categories while preserving a consistent sense of place.
Horizontal navigation became the backbone of the interface. The controller's left and right triggers shifted entire stacks of content sideways, revealing new categories while preserving a consistent sense of place.
Horizontal navigation became the backbone of the interface. The controller's left and right triggers shifted entire stacks of content sideways, revealing new categories while preserving a consistent sense of place.
Horizontal navigation became the backbone of the interface. The controller's left and right triggers shifted entire stacks of content sideways, revealing new categories while preserving a consistent sense of place.
Early character creation wireframe sequence demonstrating the horizontal journey through character creation and editing.
Wireframe Gary Boodhoo
Early character creation wireframe sequence demonstrating the horizontal journey through character creation and editing.
Wireframe Gary Boodhoo
Early character creation wireframe sequence demonstrating the horizontal journey through character creation and editing.
Wireframe Gary Boodhoo
Early character creation wireframe sequence demonstrating the horizontal journey through character creation and editing.
Wireframe Gary Boodhoo
Up/Down
The vertical journey
Up/Down
The vertical journey
Up/Down
The vertical journey
Up/Down
The vertical journey
Within each category, vertical lists made large inventories easier to browse. Fixed-height previews preserved context for comparing items, while prototypes helped refine the speed and feel of scrolling.
Within each category, vertical lists made large inventories easier to browse. Fixed-height previews preserved context for comparing items, while prototypes helped refine the speed and feel of scrolling.
Within each category, vertical lists made large inventories easier to browse. Fixed-height previews preserved context for comparing items, while prototypes helped refine the speed and feel of scrolling.
Within each category, vertical lists made large inventories easier to browse. Fixed-height previews preserved context for comparing items, while prototypes helped refine the speed and feel of scrolling.
Inventory screen prototype testing transition speeds between groups to maintain readability during rapid scrolling.
Design Gary Boodhoo Code Chip Hilseberg
Inventory screen prototype testing transition speeds between groups to maintain readability during rapid scrolling.
Design Gary Boodhoo Code Chip Hilseberg
Inventory screen prototype testing transition speeds between groups to maintain readability during rapid scrolling.
Design Gary Boodhoo Code Chip Hilseberg
Inventory screen prototype testing transition speeds between groups to maintain readability during rapid scrolling.
Design Gary Boodhoo Code Chip Hilseberg
Composition
Design Patterns
Composition
Design Patterns
Composition
Design Patterns
Composition
Design Patterns
Making one interface work was only the beginning. The system had to scale across hundreds of screens and the multidisciplinary team building them. Working with UX engineering, I established reusable interaction patterns, widgets, screen metrics, and typography standards. Components became panels, and panels became screens, allowing features to be composed from a shared foundation rather than designed independently. Using this modular framework, my team implemented approximately 70% of the game’s interface.
Making one interface work was only the beginning. The system had to scale across hundreds of screens and the multidisciplinary team building them. Working with UX engineering, I established reusable interaction patterns, widgets, screen metrics, and typography standards. Components became panels, and panels became screens, allowing features to be composed from a shared foundation rather than designed independently. Using this modular framework, my team implemented approximately 70% of the game’s interface.
Making one interface work was only the beginning. The system had to scale across hundreds of screens and the multidisciplinary team building them. Working with UX engineering, I established reusable interaction patterns, widgets, screen metrics, and typography standards. Components became panels, and panels became screens, allowing features to be composed from a shared foundation rather than designed independently. Using this modular framework, my team implemented approximately 70% of the game’s interface.
Making one interface work was only the beginning. The system had to scale across hundreds of screens and the multidisciplinary team building them. Working with UX engineering, I established reusable interaction patterns, widgets, screen metrics, and typography standards. Components became panels, and panels became screens, allowing features to be composed from a shared foundation rather than designed independently. Using this modular framework, my team implemented approximately 70% of the game’s interface.
A modular panel-and-screen layout system that recombines panels to support varied game functions effectively.
Design System Gary Boodhoo
A modular panel-and-screen layout system that recombines panels to support varied game functions effectively.
Design System Gary Boodhoo
A modular panel-and-screen layout system that recombines panels to support varied game functions effectively.
Design System Gary Boodhoo
A modular panel-and-screen layout system that recombines panels to support varied game functions effectively.
Design System Gary Boodhoo
HUD layout mockup showing component placement, sizing, and alignment standards.
Design System Gary Boodhoo
HUD layout mockup showing component placement, sizing, and alignment standards.
Design System Gary Boodhoo
HUD layout mockup showing component placement, sizing, and alignment standards.
Design System Gary Boodhoo
HUD layout mockup showing component placement, sizing, and alignment standards.
Design System Gary Boodhoo
Unified tooltip system for itemization and player abilities, designed to keep complex, data-rich info readable from 10 ft away.
Design System Gary Boodhoo
Unified tooltip system for itemization and player abilities, designed to keep complex, data-rich info readable from 10 ft away.
Design System Gary Boodhoo
Unified tooltip system for itemization and player abilities, designed to keep complex, data-rich info readable from 10 ft away.
Design System Gary Boodhoo
Unified tooltip system for itemization and player abilities, designed to keep complex, data-rich info readable from 10 ft away.
Design System Gary Boodhoo
Results
ESO launched on PlayStation and Xbox with an interface designed for the living room. Controller support later reached PC players, while Player Housing extended the framework by turning the 3D environment into a control surface. What began as a challenge to an unsustainable porting approach became a shared design foundation that allowed ESO's interface to grow without losing coherence.
Developer
Publisher
Platforms
Lifecycle
Initial Release 2014 Latest Release 2026
Key Skills & Tools
Adobe Fireworks, Photoshop, Illustrator, JIRA, Confluence, Powerpoint, Lua Scripting, Presentation Design, Sprint Planning & Review
My Workgroup
Creator & Developer Gary Boodhoo
Matt Firor
Studio Director, ZeniMax Online Studios
Gary is an immensely talented designer UX / UI designer that I have had the privilege to work with over many years, including foundational work on the User Experience for Elder Scrolls Online, as well as other games in development and our web portal at ZeniMax Online Studios. He is professional, on-time and a joy to work with. Highly recommended.
Paul Sage
CEO, Ruckus Games
I personally feel Elder Scrolls Online is the best MMO on the market for a console largely due to how well the game handles user input. Gary was key to that effort.
Nicholas Konkle
Game Director, Riot Games
I would certainly recommend Gary as a UX designer who can tell a team what they need to do to build the foundation, and then follow that team through the entire building process. He's also brings a very unique style to team-dynamics that is both entertaining and valuable, and was often a big driver of attention to detail for an entire team.
Mark Bartlett
Principal Tech Producer, ProbablyMonsters
I have worked with Gary twice now, both at Real U in Singapore and at ZeniMax Online Studios (ZOS) in Maryland. Because of how incredibly good he was at Real U while working on Otherland, I recruited him to come to ZOS and help work on the Elder Scrolls Online.
