For me, LOST IN HEL is not simply a story about Vikings; it’s a descent into the human psyche. Beneath the myth and the violence lies a meditation on fear, faith, and the fragile threads that hold us together when the world collapses. I’m drawn to stories that merge intensity with beauty, where every frame feels both dangerous and poetic. This series should grip the audience by the throat while quietly reaching for their soul. I want to build a world that feels raw and tactile yet transcendent. I’ve always been fascinated by the intersection of science fiction and culture — how myth, ritual, and belief echo the same questions that drive technology and evolution. LOST IN HEL sits in that collision between the ancient and the cosmic. It’s about humanity caught between gods and ghosts, reason and madness. I want to strip back the mythology and reveal the human condition beneath it: the need for control, connection, and purpose, and how those instincts can both save and destroy us. Visually, I aim to craft imagery I’ve never seen before — mythic, cinematic, unforgettable. Every sequence should feel like a painting come alive: beauty colliding with brutality, light sculpting shadow, emotion bleeding into landscape. The mist, the water, the sound — all become instruments of dread and transcendence. My goal is to make the audience experience awe and fear in the same breath, to remind them that horror and wonder are two sides of the same coin, and that even in hell, beauty can still find a way to breathe.