What I wanted to create with this level was a feeling similar to the intro of Battlefield 1, where you play as a soldier who dies and is replaced by another, highlighting the many young lives lost in war. In this level, I wanted to portray not only the horrors of war but also the character's growing despair as he enters the trench. This is introduced early through his thoughts, showing uncertainty as he is forced to move forward. He has been sent to investigate a company that stopped responding over the radio days ago, with little to no information about what awaits him. The level begins in a hectic and intense situation, with bombs falling and planes diving, creating a sense of urgency and chaos. Even though the outside is “open”, the player is restricted to moving forward or backward, reinforcing that lack of freedom and control. However, as soon as the player enters the bunker, the pacing shifts. The experience becomes slower and more exploratory, with multiple rooms and spaces that are revealed through environmental storytelling. This is further reinforced by the character’s constant inner dialogue, guiding the player while also reflecting their mental state. Beyond the physical environment, I wanted the experience to make the player reflect on what it would feel like to be in the soldier’s position sent on a mission without context, simply moving from point A to point B. Along the way, the player encounters disturbing elements such as dead bodies and soldiers killed in their sleep. The “monster” in the game is intentionally ambiguous. It is not a traditional horror creature, but something shaped by the player’s interpretation. It could be a soldier driven mad by shell shock, a result of experiments, or something supernatural. The player is left to decide what it represents. Ultimately, the monster and the virus act as metaphors for the horrors of war, something that inevitably catches up to you, no matter how you try to escape it.