Issue link: https://digital.copcomm.com/i/1470106
arc. The story begins with the mundane household where Benny has lived his young life. His bedroom is a conduit which reveals his imagination, his musical aspirations, the dreams that linger beneath his daily life, his world is about to be exposed to an alternate plane. His isolated suburban malaise will be transformed by the supernatural. When he first meets oe and Blaire, the two vampires he is unwittingly driving to his supposed demise, he is thrown into a world unfamiliar to him. One of the first stops Benny makes is a private club, where the interiors harken back to beautifully ornate neoclassical Parisian hotels. Here the vampires go to perform some bloodletting, but are in an environment which I felt they would find comforting, due to the leanings and stylings of the ornate neoclassical architecture .The long corridor between the elevator and the bloodletting room being a play on the long corridors of Versailles, where French courtiers would vie for the attention of the king. The corridor was lined with these wonderful sconces of elephant heads that Kristin discovered, a perfect metaphor for the superhuman strength a vampire possesses. Elephants, of course, are renowned through history for their bravery in battle and incredible strength. This night involves many stops, the reason for this is revealed. The trio visits one particular storied vampire's house which has an almost Caligula- esue vibe, and it has an incredible lawn filled with flowers that emit a cacophony of red light in A. HOTEL ELEVATOR. SET PHOTO. B. BLOODLETTING ROOM. ILLUSTRATION BY JONATHAN MCGONNELL. C. BLOODLETTING ROOM. BUILT ON STAGE NEW ORLEANS. PRODUCTION STILL BY DP EBEN BOLTER. D. FOOD TRUCK MARKET. ILLUSTRATION BY JONATHAN MCGONNELL. A B C D