The fractured civilization of Ifuria was once a peaceful, thriving culture. From generation to generation, the people passed on legends of their ancestors’ great emergence from imperialistic bondage.

To prevent from ever being taken over again, Ifurians began building in the most remote places to remain isolated from the outside world. They developed advanced techniques to build soaring and sprawling architecture into nearly inaccessible terrain.

This is part 1 of 2.
Part 2, Dyssodia, is available here.

Eventually they discovered ways to conceal construction within low-lying clouds to harness static electricity to power their buildings and send communications from city to city. This method of construction called Rostrata (named for the tool used to channel the energy) made part of their cities appear to float. As time went on, the landscape transformed into a network of isolated but culturally connected cities nestled within jungles, cliffs, and valleys.

Years ago a mysterious messenger, who called himself the Intermediary, appeared warning a few select people about a secret threat within their elite class. No one ever saw him enter the gates and no one ever saw him leave.

Some believed him. Some did not. Factions began to form within those who had seen him. Others united against those who tried to spread his message, calling them alarmists and moral authoritarians. Many questioned the Intermediary’s motives in disrupting their peaceful existence.

Because the threat was unseen, the majority carried on with their lives as if nothing had changed. But a small group of the most technically skilled, called Dyssodians, retreated from society and began new developments deep within the earth, taking the Rostrata techniques with them. Now hampered by a weakened ability to innovate, the ambitious and progressive Ifurians became desperate to reclaim the Rostrata.

Story-driven design defined the visual characteristics of each faction of this fractured civilization. The design needed to reflect the common origins of both civilizations while still remaining distinctive from each other.

Ifuria

Basic Geometry

Dyssodia

Basic Geometry

The Ifurians were the original people with a longer established settlement. Although remote, they are still mostly located in open air, on mountain tops, etc. The Dyssodians, on the other hand, had retreated, and began building deep within the earth. They rejected the Ifurians and sought to differentiate themselves in every way possible. This undiscovered ancient civilization had some advanced technology beyond our capabilities today…

…so I looked for a visual balance between simple and iconic ancient forms and slightly more complex ones, without feeling overly futuristic.

I wanted to combine remote natural landscapes with synthetic forms to give a sense of isolation and discovery. These needed to have the same wonder, astonishment, and fascination as the dinosaur valley reveal in Jurassic Park.

I designed the cities with a different basic shape to visually differentiate the two architecturally. In the story, the Dyssodians secretly took the Shield of Xela from the Ifurian archives and based much of their design on it. They emphasized the strength of military might, reflected in their spires and hard angles, in contras to the Ifurians’ softer, rounder edges borne of their desire for peaceful existence.

Initial architectural concepts were designed around the circle + wings motif. Lines are often curved and flowing with very few hard angles.

Elements designed around a circular motif incorporating the Tri-Ring of Hadius to mirror the ancients’ emphasis of individualism and unity. These elements were drawn before the architecture was designed to inspire the actual structures, and then integrated into the final artwork.

The Mark of Ascendancy was an Ifurian relic that was heavily used in architecture to align specific ancient rituals with intelligent advancement. When the Dyssodians retreated, they came upon ancient temples and buildings that bore the Mark, and left them in place to preserve their heritage.

Tower of Tisal

I began this process with rough concept sketches to get a sense of the look and feel of Ifuria.

I selected one of these loose sketches to take to a final render. I roughed in some more loose detail before going to line work. I then locked in my depth and values and determined my light source so I could block in shadows and render on top.