“I am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? ‘No,’ says the man in Washington, ‘it belongs to the poor.’ ‘No,’ says the man in the Vatican, ‘it belongs to God.’ ‘No,’ says the man in Moscow, ‘it belongs to everyone.’ I rejected those answers. Instead, I chose something different. I chose the impossible. I chose Rapture. A city where the artist would not fear the censor, where the scientist would not be bound by petty morality, where the great would not be constrained by the small. And with the sweat of your brow, Rapture can become your city, as well.”
Bioshock: The Promised Land, Part 3
It’s uncanny how much Ofra Haza’s singing sounds like Brigid Tenenbaum’s speaking voice. Between this, plausible knowledge of Hebrew, and the fact that it would have just been weird with Jasmine Jolene…
So I’m playing with canon a little re: the baby. We have no evidence of Jack as a child other than that photo, and Yi Suchong’s description of “58 pounds” and “gross musculature of a fit 19-year-old” is a strange and vaguely unappealing image. It served both the art and the music better to make him an older baby/toddler - after all, we know Lot 111 made him mature faster, but we don’t really know beyond that.
Work with me, dude.
Hahaha the suffocating fish and the ones in the net are symbolic of how Rapture’s citizens are trapped and being harvested for Ryan’s regime and I’ll shut up now.
Bioshock: The Promised Land, Part 2
And then the color scheme went Sylvain Chomet on me. Even at the bottom of the ocean, real is brown.
And yellow.
And pathos.
One of the things I love most about Rapture’s atmosphere is its use of light. The city’s so deep underwater that it’s all artificial, and you can use the tints of different bulbs to convey anything from inviting warmth to stifling heat to creepy sterility. A prime example of game designers who knew what the hell they were doing.
Bioshock: The Promised Land, Part 1
God dammit, if Gore Verbinski won’t make one, I’ll storyboard one myself.
What started out as an exercise in color and drawing backgrounds turned out to have a really warm reception, so I kept going! And, well… didn’t stop. This cinematic has been tossing around in my head for at least a month, and anyone creative can tell you that when something tosses around in your head, either you get it out or it kills you. Well, it doesn’t kill you. You just get really antsy and eat too much.
Times on the frames are as exact as I could get them to this Youtube upload of the song. I do intend to storyboard as much of the seven-minute number as my hands can take, but right now, well… they need a break.
