UE5 Blockout - Through the Rubble
Level Designer | 3 Weeks | Solo
Traverse a desolate cityscape where freedom of choice defines survival. Parkour over wreckage, outsmart enemies, and find your own path back to the metro.
Introduction

I set out to create a cover-to-cover level that combines intense combat and smart traversal in a post-apocalyptic setting.


Drawing inspiration from The Division, Spec Ops: The Line, Metro, and STALKER, I focused on designing a non-linear apocalyptic environment that encourages parkour, scavenging, and multiple playstyles.


My goal was to create a space where players can approach challenges in their own way, whether through stealth, head-on combat, or clever navigation, all while capturing the tension and atmosphere of a crumbling urban landscape.



Overview
Process
Pre-Production
Location/Inspiration

This mood board draws inspiration from the surface missions in Metro 2033 and Metro: Last Light and focuses on the desolate urban landscapes that guide players with large, memorable landmarks.

I also took cues from Spec Ops: The Line, using bold environmental features to direct navigation and reinforce the atmosphere. The goal is to create a visually engaging setting that naturally leads players through the level while maintaining the tension of exploration and survival.
My Workflow
My workflow began with establishing big shapes to define the overall structure and flow of the level. I divided the blockout into three sections, focusing on each individually to refine and iterate until they were playable. Once each section was functional, I tested them together to ensure cohesive gameplay, balancing challenges and transitions across the entire level.
Blockout & Whitebox
I divided the level into distinct sections to make the design process more manageable and allow for quicker iteration.

I started by outlining the large shapes first, focusing on the street filled with abandoned buses and the metro entrance. This rough layout established the flow of the level, ensuring clear player guidance while leaving room for experimentation with traversal, combat, and exploration elements.
Iteration Process

I found paintovers to be the most effective way to iterate and incorporate feedback, as they allowed me to quickly sketch combat spaces from specific angles before making changes.


This process helped me refine ideas early on and transfer them to a playable state with minimal rework.

Before & After
Design Pillars & Design Intent
Playstyles & Non-linearity
The playstyles I focused on while working on this project were:

Long-Range - Prefers to engage enemies from a distance, utilizing vantage points and cover. Often uses long-range weapons like rifles.

Medium-Range - Navigates the battlefield by moving between cover at a moderate distance, staying mobile and adaptable.

Short-Range - Closes the gap quickly, relying on high mobility and burst damage while using cover sparingly.
My Approach
For short-range, I designed combat spaces to accommodate both stealth and aggressive approaches. I placed plenty of full and half cover, such as abandoned vehicles, crates, and rubble, to facilitate quick movement and tactical engagements.

For medium-range, I ensured there were clear paths between cover positions, creating "cover islands" that allow players to navigate dynamically while staying protected.

For long-range, I added vantage points and open sightlines in each combat area. These areas are carefully balanced by not giving player too much sniper ammo to avoid overwhelming dominance while rewarding strategic positioning.
Player Goals

Primary, Secondary, and Tertiary Goals

In this project, I implemented multiple techniques to guide the player.


Primary: Long-term objectives or landmarks to provide direction throughout the level.


Secondary: Short-term goals, like navigating to vistas or parkour areas, to keep the player progressing.


Tertiary: Moment-to-moment targets centered around combat scenarios.

Framing & Leading Lines

In my level, I used framing to provide subtle hints and guide the player along the linear path.


I positioned buildings and streetlights at angles that naturally directed the player’s view, and aligned abandoned cars to face the intended direction of travel. These elements worked together to create a sense of direction while maintaining immersion in the environment.

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