Grey Zone

School project

Grey Zone is a linear, third-person horror-adventure level inspired by The Last of Us. Created in Unreal Engine 5, it features four distinct gameplay phases that explore key level design principles such as: Affordance, Attractive Openings, Leading Lines, Landmarks, Intensity, Verticality, and Lighting.

Grey Zone

School project

Grey Zone is a linear, third-person horror-adventure level inspired by The Last of Us. Created in Unreal Engine 5, it features four distinct gameplay phases that explore key level design principles such as: Affordance, Attractive Openings, Leading Lines, Landmarks, Intensity, Verticality, and Lighting.

Project details

– Level Design developed solo over 7 weeks, with the addition of a destruction system made by a classmate.

– Use of ALGS v1.4.2 (Adventure Game Locomotion System), Blocking Starter Pack, and the Conifer Forest Pack to support the Level Design

Workflow

Throughout the project, I had weekly meetings with my teacher. This feedback allowed me to iterate on my conceptualization and refine my ideas.

Furthermore, these meetings helped me plan my work effectively, as I had to meet the deadlines set for each week with my teacher.

Pre-production

Analysis and references

Before starting in Unreal, I gathered references for the gameplay style and atmosphere I wanted to achieve. I divided the project into four environmental phases to clearly define the player’s journey and used PureRef to organize all references and inspirations.

To enhance realism and Immersion, I also added an AI companion from the ALGS template to simulate dialogue – a nod to the narrative focus of The Last of Us.

Preliminary sketch

For this project, I wanted the environment to constantly evolve, offering new visual and spatial experiences. Inspired by Montreal, I focused on transitions between nature, suburbs, city, and metro. Balancing indoor and outdoor areas was key to maintaining rhythm and variety throughout the Level.

Final product

The final version of Grey Zone ended up being more extensive than I initially planned, but it allowed me to explore a wide range of gameplay dynamics and do a varied environment.

Final product

The final version of Grey Zone ended up being more extensive than I initially planned, but it allowed me to explore a wide range of gameplay dynamics and do a varied environment.

Level Walkthrough

ASSET_Phase01

1 - Introduction to the Level

3 - Exit from the forest

2 - Looting reward

4 - Reveal towards the next phase

Set in the forest, the Level begins in an abandoned church – suggesting the end of a previous chapter. In the very first seconds, the player is introduced on the mission of the Level.
This phase emphasizes movement and contemplation. The first minutes are exploration-focused, allowing the player to absorb the environment and build tension gradually.
ASSET_Phase02

5 - Entry into the house

7 - Soft increased intensity

9 - Affordance / deny of affordance

6 - Looting and interactions

8 - Landmark macro Reveal

The second phase takes place in the suburbs. The player explores an interior space to find loot before exiting the house. To create tension, I added dead bodies in the house to let the player know to be on their guard. When we exit the house, a Macro Landmark reveals the quest objective.
The main challenge here was balancing Affordance: guiding the player through blocked streets without visual repetition. To reward curiosity, I placed simple loot in obstructed areas.
ASSET_Phase03

11 - Bypass enemies

13 - Transition to the gas station

15 - Metro access

10 - First zombies introduction

12 - Don't get caught

14 - Safe looting to release tension

As the mission’s destination lies in the metro beneath the hotel, I ensured the hotel remained visible from most key viewpoints, reinforcing direction and anticipation.
This city phase marks a rise in Intensity – it’s the first encounter with zombies. The player must stealthily navigate from the streets to a broken building without being detected. At the end of the phase, the characters split to continue the mission on their own.
ASSET_Phase04

17 - Increased stress

19 - Mandatory fight

21 - Arrival at the generator

16 - Transition to the metro

18 - Peak of Intensity

20 - Escape from the horde

Now alone, with no help, the final phase delivers the peak of Intensity. The stress is built through music, Lighting, and Combat – the first and only one of the Level. In the metro, the player faces an unexpected zombie horde and must fight through to reach the upstairs generator, the mission’s main goal.

Level Walkthrough

PHASE 01

Set in the forest, the Level begins in an abandoned church – suggesting the end of a previous chapter. In the very first seconds, the player is introduced on the mission of the Level.

This phase emphasizes movement and contemplation. The first minutes are exploration-focused, allowing the player to absorb the environment and build tension gradually.

1 - Introduction to the Level

2 - Looting reward

3 - Exit from the forest

4 - Reveal towards the next phase

PHASE 02

The second phase takes place in the suburbs. The player explores an interior space to find loot before exiting the house. To create tension, I added dead bodies in the house to let the player know to be on their guard. When we exit the house, a Macro Landmark reveals the quest objective.

The main challenge here was
balancing Affordance:
guiding the player through blocked streets without visual repetition. To reward curiosity, I placed simple loot in obstructed areas.

5 - Entry into the house

6 - Looting and interactions

7 - Soft increased intensity

8 - Landmark macro Reveal

9 - Affordance / deny of affordance

PHASE 03

As the mission’s destination lies in the metro beneath the hotel, I ensured the hotel remained visible from most key viewpoints, reinforcing direction and anticipation.

This city phase marks a rise in Intensity – it’s the first encounter with zombies. The player must stealthily navigate from the streets to a broken building without being detected. At the end of the phase, the characters split to continue the mission on their own.

10 - First zombies introduction

11 - Bypass enemies

12 - Don't get caught

13 - Transition to the gas station

14 - Safe looting to release tension

15 - Metro access

PHASE 04

Now alone, with no help, the final phase delivers the peak of Intensity. The stress is built through music, Lighting, and Combat – the first and only one of the Level. In the metro, the player faces an unexpected zombie horde and must fight through to reach the upstairs generator, the mission’s main goal.

16 - Transition to the metro

17 - Increased stress

18 - Peak of Intensity

19 - Mandatory fight

20 - Escape from the horde

21 - Arrival at the generator

Level intensity

The level’s Pacing begins slow and contemplative, then gradually escalates through visual/loot rewards and enemy encounters, peaking with the final combat sequence. The rhythm of the Level has been carefully considered to keep its flow engaging and balanced.

Affordance

As a semi-linear Level, clear affordance was essential to maintain the Golden Path.
I combined multiple Affordance techniques to subtly guide the player, such as: distinct colors, Breadcrumbs, Lights, Attractive Openings and Leading Lines.

Deny affordance

To block access convincingly, I used meshes, signs, and foliage.
One major challenge was keeping these visual barriers varied to avoid repetition.

Landmarks

Micro, meso, and macro Landmarks were placed strategically to support pacing and orientation.
They also serve like Reveals, to give the player visual rewards.
Even at the blockout stage, I refined important Landmarks to ensure clarity for future environment art production.

Reveals

Reveals were used to surprise and satisfy the player, maintaining curiosity about
upcoming environments and Level transitions.

Attractive openings

Attractive Openings, using affordance cues, helped guide the player along the Golden Path without feeling forced or linear.

Leading Lines

Environmental elements, colors and props were placed to create natural Leading Lines, subtly directing the player’s attention and movement.

Verticality

Since the path descends toward the metro, maintaining variety in elevation was essential.
I integrated climbable and elevated areas to balance downhill moments with upward traversal.

Lighting

Lighting played a major role in establishing a foggy, eerie, midnight atmosphere.
Through multiple Post-Process Volumes, Exponential Fog, Sky Sphere and Directional Light,
I achieved both mood and gameplay clarity.
Even if the project is in a post-apocalyptic world,
artificial lights were still used to support affordance and guide the player visually.

Narrative Lines

Remembering that the Level is inspired by The Last of Us, narrative moments were added to enrich slower sections and deliver mission context, keeping the story simple yet engaging.

Enemies

A horror game inspired by The Last of Us naturally needed enemies. To keep a balance between exploration, looting, and movement, I avoided overpopulating the level with combat. Enemy placement was strategic, building tension progressively through each phase and culminating in the final one – where the highest concentration of enemies delivers the Level’s climax of Intensity.

Strategic loot placement

Exploration is rewarded through optional side paths containing important loot.
The essential resources – like ammo and meds – are placed directly along the Golden Path to ensure that the player doesn’t miss them.

Breadcrumbs

In the suburban house, I placed corpses to gradually increase tension and foreshadow upcoming encounters, serving as both narrative cues and gameplay breadcrumbs.

Conclusion

Grey Zone is a The Last of Us inspired level with a stronger horror twist. My goal was to demonstrate AAA Level Design skills and create an immersive, cohesive environment.
Over 7 weeks, I applied core Level Design techniques, refined my sense of Pacing, and learned how to balance Gameplay, narrative, and mood – all within a short, polished experience.

With its Crafted Intensity Curve, environmental transitions, and solid structure, this project stands as the project I’m most proud of from my first year into the Video Game Design world.

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