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There’s something about drawing in silence when the only sound you hear is the wind brushing against the leaves, and the occasional footsteps behind you. That’s how this sketch came to life.

I sat in front of the building that would later become the protagonist’s home. Not just a home, really ; a capsule of memory, regret, and disconnection. From this window, he watches the world like a ghost trapped in the glass. The streets move on, people come and go, but he stays. And that feeling, I think, is central to the entire game.

In this early field sketch, I tried to capture not just the structure, but the emotional distance of the space. A viewpoint blocked by trees, a skyline weighed down by antennas and bricks , nothing here is clean or dramatic. But it feels like something. Familiar. Heavy.

I added notes directly on the sketch:

• “Protagonist’s Window” The place he stares out of, lost in thought.
• “The World Starts and Ends Here” That’s not just about the window. It’s about perspective.
• “View from Apartment” A park, a path, a bench and silence. The kind you hear only when you’ve stopped talking to the world.

Why This Matters

Before I build levels, I need to understand them. Not just their shape or layout, but what they mean to the character and the player. This isn’t just about buildings , it’s about the emotional architecture of a man who’s falling apart.

This sketch is just the beginning. I plan to share more as the game world unfolds, one brick at a time.

Thanks for reading.

See you in the next entry.

Kıvanç