Skip to content
Christoffer Jensen.
Back

Selected Clients

Planet IX

I owned the product experience of one of the largest onchain games — and led the design team through a high-stakes, no-undo chain migration.

As Experience & Design Director at Nibiru I owned everything users saw and touched on Planet IX, and I built and ran the design department — first alongside a Creative Director, then leading it end to end. I directed the experience and built many of the features and flows; the hands-on visual craft and 3D are the team's. The scale numbers below are product facts from public sources (DappRadar / CoinGecko) — not a claim about my design.

Visit Planet IX
Year
2023–26
Role
Experience & Design Director
Studio
Nibiru
Type
Onchain game · Polygon → Base
#1
dApp on Base, a month after launch (Apr 2026)
3–4k
weekly transacting users on Base, sustained
~117M
tokens migrated cross-chain — nothing lost
400M+
NFTs minted in the Polygon era

Scale figures span the Polygon and Base eras — public product facts (DappRadar / CoinGecko), credited to the whole team, not a claim about my design.

01Cross-chain migration

A no-undo migration had to feel safe enough that thousands would go through with it.

Moving the economy from Polygon to Base meant every user’s tokens and NFTs had to come across — real money, no undo, and crypto communities lose patience fast. I directed the experience end to end: the in-context prompts, the guided per-asset flow with plain-language explainers, and the states most teams skip — a locked processing state and an honest failure state. The team built it; I owned how it should feel and where it had to be bulletproof.

The community migration announcement graphic — the Planet IX mark on Polygon connected across to Base.
The migration flow — select an asset to migrate, a guided flow per asset, processing, and success.

Result: around 10,000 users moved their holdings across chains — roughly 117M tokens — with nothing lost. The migration doubled as the on-ramp: assets already waiting in users’ Base wallets meant no cold start when the new dApp launched.

02A new home on Base

A new chain meant rebuilding the dApp and its staking economy from the ground up.

On Base the team built the product fresh — home, inventory, quests, daily rewards, and the refined-crystal staking flow. Staking carried the most risk, so it got the most attention: overview, amount, confirm, processing, success, then manage and claim. My job was making a complex financial action feel routine.

Result: #1 dApp on Base by April 2026, a month after launching in March — holding 3,000–4,000 weekly transacting users since, with 5.4M+ AIX in the staking pool (May 2026).

03IX Meteora

The gameplay loop is the economy — so it had to be clear and worth returning to.

IX Meteora is an in-app game: pilot a drone, harvest crystal fragments, and refine them into crystals you can stake for rewards. Every harvest and refine creates the activity the whole product runs on, so the loop had to read instantly. I owned the art direction; the visual craft was the team’s and our 3D artist built it in Godot.

IX Meteora's three core features — play to collect and refine resources, stake and claim rewards, and climb the leaderboard.
IX Meteora art direction — a gloved hand holding the game's launch screen, lit in the crystal palette.
04Web & brand

The same brand system, carried out to the front door.

Beyond the product, the ecosystem’s public sites — Planet IX, IX Foundation, and the Nibiru company site — run on the same brand system as the product. I directed the brand and experience across all of them; the team built them in Framer.

planetix.com
Planet IX marketing site — the Web3 strategy game.
ix.foundation
IX Foundation — the Planet IX staking platform site.
nibiru.se
Nibiru company site.
Role

Experience & Design Director at Nibiru (2023–26) — I owned the Planet IX product experience end to end, and I built and ran the design department. I directed the migration experience and the Base dApp, owned the art direction for IX Meteora, and directed the brand across the ecosystem’s sites; the hands-on visual craft, the 3D in Godot, and the Framer builds were the team’s, and I worked closely with engineering on the cross-chain work. The department was first co-led; then I ran it end to end — creative and experience direction both. The way I lead is to give talented people the space and trust to realize the vision their way, then align and approve as a team, rather than direct every detail — it produced the best work, and it’s how the team liked to work.