Part three, in which I cover chapters six through nine. This includes two variants on the published artwork.
Previous entries in this series: Part one - Part two
Chapter Six
The illustration of the sigil gate is another piece intended to provide visual context of the strange city’s architecture. It also represents a transitional point in the story where Gareth finally leaves Bethsaida behind. Fun fact: there was an original draft (not saved, sorry) where the arrangement of bars was different. I changed this up to be more accurate to the written description.
From the book:
Standing at a height of thirty feet was a massive bronze-plated gateway, barred by two doors. Through the bars that lined the barrier in a trio of rows, he could spy the adjacent ward, which appeared to be currently uninhabited. Lacking even the faintest noise he’d expect even in the smallest township, Gareth assumed that Bethsaida was also abandoned.
In the center, a chest-high panel overlapped the crease between the matching gates. A lone depression, lined with strange symbols, in the circular display appeared to match the sigil key.
— Chapter Six, The Long and Dark
Chapter Seven
There are a series of obelisks that serve as way-points throughout the story and land of Dineothan. On each is a carving representative of the specific location. The inspiration for these is based on the archstones from the videogame Demon’s Souls.
As you can see below, there are two versions for chapter seven. The one on the right was the original. Just before the print version of the book was finalized, I decided to add the left hand and the lantern to make it more in line with descriptions of similar basreliefs found in the story.
From the book:
At the center of the massive entrance hall was a marble fountain. Long ago dried out, it only contained dust and a smattering of coins. Gareth didn’t recognize any of the profiles of old men imprinted on the currency. In the middle of the fountain stood a single stone column, on which was etched the now-familiar lamp-holding scholar.
— Chapter Seven, The Long and Dark
Chapter Eight
This was the piece that forced me to consider adding gray-scale backgrounds to the art. Without it, on a smaller scale, the finer details of a piece like this get lost.
From the book:
Flanking each side of the stairs was a series of statues, each at least ten feet in height and carved from weathered granite. Between the more regal sculptures of knights who brandished their swords and shields were monstrous gargoyles, many of which were hunched with clawed hands that reached over the lengthy pathway. Along the upper flights, the sculptures were of stranger entities, including thin, lanky humanoids whose faces were covered by segmented carapaces.
— Chapter Eight, The Long and Dark
Chapter Nine
This is another reference to the obelisks present throughout the story. With the story moving to the Sanatorium, I needed a medical image that also had potential horror overtones: the plague doctor. The image on the right below was an original version. Seeing it mocked up in the print version convinced me to change up the background gray-scale.
From the book:
Eventually, he reached the double doors of the main entrance and pushed his way in. The foyer led directly into an administrative area, complete with waiting room, clerical offices, and a set of visitation cubicles on the second floor. Though afternoon sunlight poured in through the clouded panes of the skylights above, gas lamps along the outer walls burned brightly. At the center was a stone obelisk, with the image of a doctor in profile carved on the front.
— Chapter Nine, The Long and Dark
Be sure to check out the Gallery for additional artwork.
