Issue link: https://digital.copcomm.com/i/1349602
Even before it was decided that the casino should be called Inferno, I looked to Dante for inspiration. There were five oors to work with, the lowest levels would be the realm of the damned, those poor souls who had been captured and forced to fight to the death for the entertainment of those above. On the next level were the workers who were forced to clean up this nightly ritual. The main oor and entry were dedicated to the citizens with bars, gambling and entertainment in every corner, while higher still were the suites, where Lloyd Henreid and his lackeys were able to enoy the excesses of their choice in comfort and style. Above them all were a series of rings, suspended like a chandelier from an oculus forty oors below Flagg's penthouse. Taken all together, these were Dante's nine rings of hell. I sat down with Supervising Art Director Justin Ludwig and construction coordinator Alan Burdett and started making a plan. It would have to be absolutely surgical in precision and timing if we were going to pull this off. If the unexpected happened, we would have to embrace it and roll with it, there would be no time to change plans. The team worked through the holidays and somehow we made it to camera with dry paint and working slot machines. C. INSPIRED BY CLASSICAL ORIGINALS, THE SCULPTURE WERE MEANT TO BE A COMMENTARY ON MONEY AND THE DECLINE OF WESTERN CIVILIZATION. MODELED IN RHINO AND RENDERED IN KEYSHOT BY AARON HAYE. D. SET DESIGNER SHANNON MCARTHUR DEVELOPED THE RHINO CONCEPT MODEL WHICH WAS THEN CNC- MILLED AND FINISHED BY HAND. E. CASINO INTERIOR. A KEEN EYE WILL RECOGNIZE THE CARPET FROM THE OVERLOOK HOTEL IN THE SHINING, A CONNECTION WITH THE GREATER KING UNIVERSE. B C D E