It is a small city nestled at the bottom of some hills in some unnamed desert State in the USA. This will be clearer once I ink it, but I wanted you to be able to see story of the city’s development just by looking at it. It probably came about as a way point along the Transcontinental Railroad in the late 1800’s. Eventually it grew into a small town with no more than a few hundred residents at most. The era of the city, when it was a town, is evident in the mid ground of this shot. A variety of building types that were constructed over the decades that don’t really match each other. None of them are more than a couple stories high. This, combined with the roads intersecting at a variety of angles, should give the impression that there was little to no planning when the town was created. You can see some of that sticking out from the bottom of the hill that our character is looking down.
In the early to mid 1970’s some big business came in and decided that the town would be a great location for their Corporate Headquarters. Soon the town developed into a city of about a quarter million. Dozens of uninspired, blocky office buildings shot up on a predictable grid pattern. The employees who work in these buildings needed a place to live, so some equally uninspired suburbs were built on the hills nearby. These elements can be seen in the far background of this shot.
And then, shooting out of the middle of the city, is the tower. It stands more than double the height of any of the other buildings and has an unusually inspired architecture. When the art is finished you will see that it has dark and reflective quality to it. I wanted it to look like a giant shard of Obsidian, both inside and out. It is home to the man who brought all the business to the town and changed everything. Over the past few years he has chosen to seclude himself in his penthouse. My first stab at what that penthouse will look like is below.
This is extremely rough. I don’t think I spent more then fifteen minutes on it the other day. I was intentionally fast because I just wanted to see the broad strokes, so to speak. If I closed my eyes and tried to visualize the penthouse, what did I see? In the end it will probably look completely different. The final script for the scenes that take place here have not been written. The design will need to conform to the needs of those scenes. Regardless I want the penthouse to to feel uninviting. It shouldn’t seem like someone would live here, yet he does. What does that say about the man? I’m not going to answer that here. You’ll have to read the book, whenever it is done.