David is a mining heir who finances the experimental "iron mole," an excavating vehicle designed by his elderly inventor friend Abner Perry. In a test run, they discover the vehicle cannot be turned, and it burrows 500 miles into the Earth's crust, emerging into the unknown interior world of Pellucidar. In Burroughs' concept, the Earth is a hollow shell with Pellucidar as the internal surface of that shell.
After watching the reading the three exerts provided, I felt I needed a wider understanding of the 'place/ world' they were in so I watched the first film adaptation, At the Earth's Core (1976), directed by Kevin Connor. The film helped me see how another concept artist perceived the books descriptive content of the landscapes and buildings.
After reading the passages again I went through highlighting all the areas of descriptive language about the scenery and landscapes, this will help me to develop thumbnails and concept art from
Scenery/ Points of description about the landscape
Scene 1 – First Appearance of ‘the new world’
· In a short time I had removed enough of the earth and rock to the floor of the cabin to expose the door beyond. Perry was directly behind me as I threw it open. The upper half was above the surface of the ground. With an expression of surprise I turned and looked at Perry—it was broad daylight without!
Together we stepped out to stand in silent contemplation of a landscape at once weird and beautiful. Before us a low and level shore stretched down to a silent sea. As far as the eye could reach the surface of the water was dotted with countless tiny isles—some of towering, barren, granitic rock—others resplendent in gorgeous trappings of tropical vegetation, myriad starred with the magnificent splendour of vivid blooms. Behind us rose a dark and forbidding wood of giant arborescent ferns intermingled with the commoner types of a primeval tropical forest. Huge creepers depended in great loops from tree to tree, dense under-brush overgrew a tangled mass of fallen trunks and branches. Upon the outer verge we could see the same splendid coloring of countless blossoms that glorified the islands, but withinThe dense shadows all seemed dark and gloomy as the grave. And upon all the noonday sun poured its torrid rays out of a cloudless sky.
· He smiled, and turning, pointing to the nose of the prospector protruding from the ground at our backs. (could be used as the foreground for an image – the drill)
As I looked I began to appreciate the reason for the strangeness of the landscape that had haunted me from the first with an elusive suggestion of the bizarre and unnatural—THERE WAS NO HORIZON! As far as the eye could reach out the sea continued and upon its bosom floated tiny islands, those in the distance reduced to mere specks; but ever beyond them was the sea, until the impression became quite real that one was LOOKING UP at the most distant point that the eyes could fathom—the distance was lost in the distance. That was all—there was no clear-cut horizontal line marking the dip of the globe below the line of vision.
I glanced up to find the great orb still motionless in the center of the heaven. And such a sun! I had scarcely noticed it before. Fully thrice the size of the sun I had known throughout my life, and apparently so near that the sight of it carried the conviction that one might almost reach up and touch it
Scene 2 – The Tree top village
When we came suddenly upon a dense village built high among the branches of the treesPresently they dragged me within the village, which consisted of several hundred rude shelters of boughs and leaves supported upon the branches of the trees. Between the huts, which sometimes formed crooked streets, were dead branches and the trunks of small trees which connected the huts upon one tree to those within adjoining trees; the whole network of huts and pathways forming an almost solid flooring a good fifty feet above the ground.
Scene 3 – The Mezops Village (also in the tree’s)
· After proceeding through the jungle for what must have been upward of five miles we emerged suddenly into a large clearing in the exact center of which stood as strange an appearing village as one might well imagine.
Large trees had been chopped down fifteen or twenty feet above the ground, and upon the tops of them spherical habitations of woven twigs, mud covered, had been built. Each ball-like house was surmounted by some manner of carven image, which Ja told me indicated the identity of the owner.
Horizontal slits, six inches high and two or three feet wide, served to admit light and ventilation. The entrances to the house were through small apertures in the bases of the trees and thence upward by rude adders through the hollow trunks to the rooms above. The houses varied in size from two to several rooms. The largest that I entered was divided into two floors and eight apartments.
· All about the village, between it and the jungle, lay beautifully cultivated fields in which the Mezops raised such cereals, fruits, and vegetables as they required. Women and children were working in these gardens as we crossed toward the village.
Scene 4 – The Temple
· Here was a mighty temple of hewn rock built in the shape of a rough oval with rounded roof in which were several large openings. No doors or windows were visible in the sides of the structure, nor was there need of any, except one entrance for the slaves, since, as Ja explained, the Mahars flew to and from their place of ceremonial, entering and leaving the building by means of the apertures in the roof.
· We ascended for some forty feet when the interior of the space between the walls commenced to grow lighter and presently we came opposite an opening in the inner wall which gave us an unobstructed view of the entire interior of the temple.
· The lower floor was an enormous tank of clear water in which numerous hideous Mahars swam lazily up and down. Artificial islands of granite rock dotted this artificial sea
· The interior of the oval chamber, to settle finally upon the damp, cold boulders that fringe the outer edge of the pool.