Issue link: https://digital.copcomm.com/i/1535796
of the city would reflect the inner conflict of Matt Murdock and Wilson Fisk. Conveying a public outer version contrasting a darker inner conflict that carries through all the designs. The two characters struggle to be redeemed and rehabilitated, much like the city. Tactile - Murdock & Associates Stage Set As Matt is a blind lawyer who has the superpower to "see" through his heightened senses, it was important for me to create a highly visual and textural world for him, much of which he can't experience. Now, he is a successful attorney with a new high-end Brooklyn office and a wall of large windows with expansive city views he will never see. I wanted to reinforce the idea of vision, or lack of it, through layers of glass partitions with different types of semi- translucent glass, which distorts shapes and light. Textures are everywhere. Reclaimed flooring, exposed brick, pebbled glass, steel framing. All things that a blind person could feel. The artwork was selected to potentially feel familiar but distorted as a vision-impaired person might see. It is important for the audience to feel and experience this amazing office in a way Matt never will. Rooftop - Murdock's Apartment Stage Set Viewers associate the previous Daredevil with NYC rooftops, where he would be listening and traversing. I wanted the new Matt to be in an aerie. The renovated top floor of a Brooklyn building with commanding views of the Hell's Kitchen he left behind—an amazing apartment with more vistas that only the audience will ever see. This top floor would be as close to a rooftop as the newly reformed Matt can get…for now. Of course, many set dec questions come up… would there be any practical lighting? How much furniture does he really need? Why is there a TV? How would he cook? After consulting with our limited vision tech advisor, we chose to have very few practical lights and sparse furnishings, along with labels in braille on everything. Most of his scenes were shot illuminated only by exterior-motivated light coming through the large windows except when he has guests over. Similar to his office, I paid a lot of attention to creating a highly tactile environment that he could feel if he wanted but that the audience might absorb. A. MURDOCK & ASSOCIATES OFFICES. ILLUSTRATION. B. MURDOCK & ASSOCIATES OFFICES. SET PHOTO. C. COURTROOM. ILLUSTRATION. D. OCEAN VIEW HOUSING. ILLUSTRATION. A B D C