Pretty boggling, if you look at transporter movie and character you see protagonist got a set of rules which have "exceptions" and those exceptions are made as "they" come. The guy is a car guy, ex military and serious about stuff...But the second season guy is opposite, a playboy, car guy, bending bosses before him and stuff. you can take both guys and make "three's a crowd, four's a party" kindawa thing and for the serious note...what I really like was the first season guy how manage he is and his house far from the "opinion makers" So,
1st: show him collecting his milk pack early morning at the main gate of his safe-house, show off his garage with BMW and Audi, the milk guy driving off the unease path, his Russian friend getting out of his old car near the gate where he spots the milk guy and quotes something funny.
2nd : you can show him kick boxing thugs in a warehouse kindawa place and dollars falling down as if it's raining
3rd : obvious, show him changing oil of his car or filling petrol with his book of rules on the car's roof and a girl "secured" in the backseat
4th : show him cooking food with his Russian friend in a caravan
5th :show him drift turning a corner on Italy roads
6th : show he is "trading" goods with a customer or "talking" to "someone" in a club
7th: show him smiling at a girl in a Bently and him in a Lamborghini and dust poofs all over, cars are dirty a bit, midnight or afternoon and they are on a highway
8th : or he driving reverse and shooting at cops in"blue"
If you are enjoying the bioshock world and you love the steam punk genre...
--ANY you want to push your own personal envelope...
Then try to get something dystopic and messy and steampunk --Steampunk lends itself to a gritty kind of interpretation. Your work has an extreme of BOLD and movement and exceptionally clean lines and crisp color.
Try making a scene that does NOT draw from comics or even games, portrays a quiet day to day struggle in a dirty, gritty environment where the majority of the visual appeal is not the subject, but focuses on the environment with tiny details there that tell the story and not the central character. A partial skull over here... a bunch of yuck splattered there.... bullet holes in concrete over a pile of non-descript mess. Maybe have a child catching some kind of clockwork dodad in their elaborate trap... Why does this kid need to create a fancy trap just to catch some kind of strange clockwork creature... and does this in a burnt out husk of a building/outside scene/battle field.
That will get you out of your comfort zone. Think of every thing your work IS and try to do the opposite. It will most likely suck, but it is in failure that we learn, not in our success.