![]() ![]() The project highlighted gaming’s ability to clarify difficult concepts and helped Pushkar plan his future in immersive media, a vast field encompassing virtual, augmented, and mixed reality. It was a bold move, but he found what he was after: an opportunity to learn UX and interaction design through hands-on projects.ĭuring his time at CDM, Pushkar designed an augmented reality (AR) game that led kids on a real-world search for digital parts to build a da Vinci spingarde cannon in a virtual environment (think Pokémon Go). But for Pushkar, jugaad is more than a make-do mindset: It’s a willingness to pursue increasingly complex design problems, even to the ends of the earth.ĭespite spending the better part of two decades as a design leader, Pushkar left advertising in 2017 and moved to Canada to pursue a master’s degree in Digital Media at The Centre for Digital Media (CDM) in Vancouver, British Columbia. Pushkar says jugaad is an Indian philosophy that “you can see from the everyman to the top scientists.” In fact, India’s reputation for economical engineering has inspired companies from both the East and the West to embrace jugaad as a form of frugal innovation. Or as Pushkar explains, “It’s making do with what’s available.” ![]() The word is “jugaad.” It’s a Hindi term that describes what happens when ingenuity and determination overcome limited resources. “And I started seeing this gap, that if I wanted to make a real difference, I’d have to impact the product.” After 17 years in advertising, Pushkar was an expert at managing creative teams, pitching clients, and executing campaigns, but the field was losing its luster. “Agencies promote what is already made,” he says. In advertising, brands and their products are established, but Pushkar wanted to solve design problems at the ground level. He spent time at Leo Burnett, BPG Group, and DBB-where he managed advertising accounts across the Middle East, North Africa, and Turkey. Eventually, he moved to Dubai and crafted ad campaigns for brands such as Chevrolet, Pepsi, Snickers, and HSBC Bank. ![]() In Mumbai, he refined his skills at Publicis Worldwide, Grey Group, and Saatchi & Saatchi. It wasn’t a high-profile position, but it taught him how to communicate meaning with time and motion-a skill that would prove valuable throughout his career.Īfter graduating, Pushkar began climbing the ranks of the advertising industry. While attending art school in his hometown of Mumbai, Pushkar landed his first design job at a studio that made animated e-cards. The original Doom was ferocious in ways that gamers had never experienced. ![]() But before Pushkar had the chance to work on a blockbuster game, he had to pivot from promoting existing products in the advertising industry to building simulated experiences in the burgeoning world of VR gaming. Pushkar Patange is a member of the Toptal network and a UX+UI lead designer at Archiact, where he was part of the team that adapted Doom 3 to PlayStation’s VR headset and aim controller-a major milestone in his professional journey. In 2020, Bethesda Softworks and id Software enlisted the immersive media studio Archiact to bring the 2004 version of Doom 3 to virtual reality (VR). Players control a nameless space marine and battle the demonic horde with a collection of high-powered weapons.ĭoom, Doom II: Hell on Earth, and Doom 3 were savage and shocking in ways that gamers had never encountered, and nearly 30 years after the original Doom launched in 1993, the series remains a marketable commodity within the gaming world. Each sequel in the Doom franchise revolves around the same scant narrative: A multiplanetary megacorporation unleashes an army of diabolical spirits on the inhabitants of Mars and Earth. If you want to slay demons, play Doom-one of the most iconic video game series ever. ![]()
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